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A high quality of life is critical to attract talent, entrepreneurs and business growth.
We're partnering with communities to create the kind of places where workers, entrepreneurs, and businesses want to locate, invest and expand.
Find your sense of place in Pure Michigan.
PUR~ICHIGAN ' Michill. Economic Oenlopment Corparltion driving a brighter future
Ford M Ol or C omp a n y ~
For opening minds and engaging the co mmunity, Ford salutes the Uni versity Musical Society Edu cation and Co mmunity Engagem ent Program .
www.comml.lnity.ford.com WELCOME.
" Welcome to this UMS performance. Since 1879, the people of southeast Michigan, includinl our students, faculty, and staff, have experienced remar1table moments through UMS's presentations 01 the world's fin est perlormers of music, theater, and dance. This season. we are proud to celebrate 100 years of UMS presentations in Hill Auditorium, a historic and prized venue on our campus. Enjoy the performance." 11\.., k.... dt., • Mary Sue Coleman President, University of MicJtigan
" With ellceptional performances, the l OO- year anniversary of Hill Auditorium, and an amazlnl array of events that we hope wiU transform, elevate. and transcend, we think this season will be somethinl truly spedal. Thank you for b ein, present."
K'!.~UMS President'
~ l ' m deUented to welcome you to this UMS performance as chair of the UMS Board of Directors. We thank you for being here and encourare)'Qu to eet even more involved with UMS throuah participation in our educational opportunities, by maleinc a elft, or by addine more UMS events to your calendar. Thank you." {Ld:~ £vid1.H~g Chair, UMS Board of Directors Honigman is pleased to support VMS. We believe the arts bring vibrancy, growth, and culture to our community. HOnigman is a premier business law firm, working in perfect harmony with our communities and our clients in Ann Arbor and throughout the world.
For more information, please contact David Parsigian at 734.418.4250 or [email protected].
F(:I"Jl2n(\o Alberdi TomFon= T..... Mahoney Jennifer Anderson Car] Herstcin CyM_ Christopher BalWd Richard Hneg Leonard Niehoff Mourice Binlww Ann Hollenbeck David Portigian Cindy Bott J. Michael Hugel "'"S'"""" Audrey DiMarzo ...... "'" BillWin,ten Sean Etheridge Kristopher Korwn
HONIGMAN. Honigman Miller Schwam ond C<>bn LLP
DETROIT ANN ARBOR LANSING OAKLAND COUNTY KALAMAZOO 6 2012-2013 SEASON CALENDAR BE PRESENT. 8 EDUCATION 10 HISTORY
LEADERSHIP. 14
25 THE EXPERIENCE ~ THE EVENT PROGRAM . THE PERFORMANCES I'"
SUPPORT. 31
51 HOW DO I BUY TICKETS' GENERAL INFO. 53 POLICIES 55 GETTING INVOLVED 2012-2013 SEASON CALENDAR. To learn more, see video previews. get in-depth perfOfmance descriptions, and buy tickets, visit www.ums.org.
w~ 2l-22 Kldd Pivot: Th., Tempest Replica ~ 23 Natlonal The31re Uve: The Curious IncidGnt of tho Dog in thQ Night-Tim. 27 Chla80 Symphony Orchestra - Riccardo Muti, conductor 28-29 Suzhou Kun Opfl"a Theater of Jiangsu Province
~ 4 Bllslanl ~ 6-7 Aspen 5,,"'4 Fe Ballet 10 Jerusalem Quartet 11-13 TheAtre de La Ville: lonesco's RhinocWos 20 MurrllY Perahla. plano 27 Marllnsky Orchestra of St. PetersbUfl! - Valery Gergiev, conductor 28 National Theatre Uve: Last of th" Houssmons
> 11 Belcea Quartet ~ 16 GUberto Gil 17 o.ve HoiLand Big Band 28 National Theatre Un: Timon of AthQIIs u w 1-2 Handel's Messloh 0 8 Olanne Reeves Quartet with specialguesl Raul Midon z 8-13 National Theatre of Scotland: ThQ StrongQ Undoing of Prudflncio Hart 13 Detroit Symphony Orchestra - Leonard Slatkin, conductor " 17-18 Gabriel Kahane & Friends 21 From Coss Corridor to thQ World: A TributQ to OQtroit's Musical GoIdQnAgQ 25-26 Martha Graham Dance Company 27 Mariachi Vargas de Tecalitlan 31 Jazz at Lincoln Center Orchestra with Wyntan Marsalis m w Angelique Kidjo ~ 2 New Century Chamber Orchestra - Nadja Salerno-Sonnenberl!, violin and leader 9 Berlin Philharmonic Woodwind Quintet with Martin Katz, piano 10 National Theatre Live: ThQ MogistrotQ 14 The King's Singers 15 Kodo 16 Amjad Ali Khan with Amaan Ali Khan and Ayaan Ali Khan, sarods 17 The English Concert with David Daniels, countertenor: Handel's Rodamisto 20-24 Propeller: Shakespeare's T_/fth Night and ThQ Toming of thQ ShrQw 23-24 New York Philharmonic - Alan Gilbert, conductor
~ 13 Artemis Quartet < > 14 Anne-Sophie Mutter, violin 16 Yo-Yo Ma and The Silk Road Ensemble (Ford Honors Program) 23 Hamid Al-Saadi Iraqi Maqam Ensemble and Amir EISaffar's Two Rivers
~ 4 Darius Milhaud's CXQstQion Trilogy ~ < University Symphony Orchestra UMS Choral Union & U-M School of Musk, Theatre & Dance Choral Ensembles Kenneth Kiesler, conductor 6 Esperanza Spalding Radio Music Society 10- 14 1927: ThQ Animals ond ChildrQn Took to thQ StrQQts 12 Takacs Quartet 18 Bobby McFerrin: spirit you 011 20 Alison Balsom, trumpet, and the Scottish Ensemble 24 Ragamala Dance: SocrQd Eorth 27-28 SITI Company: Tro;on ~mQn (oftw EuripidQs) - EDUCATION EXPERIENCES FOR EVERYONE
Learning is core to our mission, and it is our joy to provide creative educational experiences fO( the entire community. Each season we offer a fun and fascinating lineup of wQ(icshops, artist Q&As, screenings, conversations, and Interactive experiences designed to draw you in and out of your comfort zone, connect you to Interesting people and unexpected ideas, and bring you closer to the heart of the arttstk experience.
Through our K-12 and university engagement programs, we are working to develop the next generation of global citizens and creative artists who understand and appreciate diversity, innovation, collaboration, tradition, self-expression, and craft UMS EDUCATION & COMMUNITY ENGAGEMENT CREATE A SPARK SOMETHING CREATIVITY,
PERFORMING
You'll fmd speClhc EducatlOn &1 Commumty Engagement event mformatlOn wlthm the Event Program sectlOn of th1S book
V1Slt www.ums.orgJlearn
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100 YEARS OF HILL AUDITORIUM
This season, we are pleased to honor 100 years of the legendary Hill Auditorium. Hill Auditorium is remarkable not only because of its rich history and incredible acoustics, but also because of the role it plays in the cultural story of the entire state. Join us for special performances held throughout the season, as well as events, celebrations, educational activities, and more.
For more information on our venues, please visit www.ums.orglvenues.
UIiv.mtyorgu u,t Earl V.Moo", <>JllIido 01 HillAurlilorium with crgan pOp<, 1913. Congratu lations, Ken Fischer.
2012 Winn er of the Thank you for your leadership Mariam C. Noland of UMS, your contributions to Award for Nonprofit the nonprofit sector and to the Leadership development of the next generat ion of leaders in our region and beyond.
communityfoundation fOIi SO\fI>lE.o\$T "ICH~
Vi.itCFSEM.<> UMS LEADERS The following individuals, corporations, and foundations have made gift commitments of $50,000 or more for the 2012-2013 season. UMS is deeply grateful for these annual gifts. ANONYMOUS "UMS's presentation of Einstein on the Beach was both the most pleasurable for me and the most memorable I have experienced since I arrived in Michigan in September 1949 .. 1 can see now how a performance can be life-changing." OlE ENERGY FOUNDATION Fred Shell Vice President, Corporate and Government Affairs, DTE Energy, and President, DTE Energy Foundation "The DlE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community." FORD MOTOR COMPANY FUND AND COMMUNITY SERVICES James G. Vella President, Ford Motor Company Fund and Community Services "Through music and the arts, we are inspired to broaden our horizons, bridge differences among cultures, and set our spirits free, We are proud to support UMS and acknowledge the important role it plays in our community: FO "We believe the arts are fundamental in educating the children of this country who will be the leaders of tomorrow. While math and science are critica~ chaHenging in-depth experiences in visual and performing arts are integral to who we are, encouraging the development of critical and creative thinking skills. The University of Michigan is the ideal incubator for nurturing and fostering creative thinking and collaboration. UMS is a real treasure in our community we want to ensure that students, faculty. and the community can experience world-class performances for generations to come." MICHIGAN ECONOMIC DEVELOPMENT CORPORATION Michael A. Finney President and CEO, Michigan Economic Development Corporation "The arts and economic devebpment are two sides of the same coin. MEDC is proud to support the efforts of UMS because these endea\.l:ll'S greatly enrich the quaUty of place of communities where workers, entrepreneurs, and businesses want to locate, invest, and expand: UNIVERSITY OF MICHIGAN Mary Sue Coleman President, Universityo{ Michigan "The University of Michigan is proud to support UMS, Our partnership began 133 years ago and remains as strong as ever today, We recognize the enormous value that UMS brings to our academic mission through opportunities for students and faculty to interact with performers, through student ticket discounts, and through UMS's contributions to the quaUty of Ufe in Ann Arbor that assists us in our retention and recruitment of valuable faculty and staff: UNIVERSITY OF MICHIGAN HEALTH SYSTEM Dr, Ora Hirsch Pescovitz Executive Vice President for Medical Affairs, Universityo{ Michigan, and CEO, University of Michigan Health System "When I was young, I contemplated becoming a concert pianist Though I didn't pursue that career path, the arts have remained a prominent fixture in my life, both personally and professionally, Music and the arts feed our imaginations, heal our spirits, and 00. inspire us to evolve and grow, We are very fortunate to have UMS U. ..."il,oI Midli ••• H.. ItIoS,..... as part of our community, and the University of Michigan Health System is privileged to sponsor such a creative, vibrant part of our culture, Here's to a great year!" UMS CORPORATE, FOUNDATION, GOVERNMENT AND UNIVERSITY SUPPORT Special thanks to the fol/owing corporations, foundations, government agencies, and University of Michigan units that made generous financial contributions to UMS between July 1, 2011, and June 30, 2012. PRODUCER, $500,000 AND ABOVE NIVERSITY OF MICHIGAN DIRECTOR, $100,000-$499,999 Association of Performing Arts Presenters Maxine and Stuart Frankel Foundation The Andrew W. Mellon Foundation ID) PURy11I CH I GAN DOO" DU .. '-'''''-''-'''' -~--- SOLOIST, $50,000-$99,999 Anonymous Community Foundation for Southeast Michigan The Power Foundation ...... DTlKn... y Cf= Knight Foundation , ARTWORKS-- . MAESTRO, $20,000-$49,999 Charles H. Gershenson Trust THE MOSAIC FOUNDATION (of R. & P. Heydon) University of Michigan Office of the Vice President for Research University of Michigan Office of the Senior Vice Provost for Academic Affairs KeyBank <>-w: MASCO Gl PNC ~ TOYOTA • VIRTUOSO, $10,000-$19,999 Cairn Foundation University of Michigan Center for Chinese Studies """"" _. SUROVEll 1/±=-_. AlIIM' 0'" • • , ..REAlTORS - " Me3 -~ J;--~~- 1 a O UNITED UM\]!)mTN'ION ~~h% ---0 0 n MNU,1lUlST-- CONCERTMASTER, $5,000-$9,999 Rosalie Edwards/Vibrant Ann Arbor Fund Pfizer Foundation GlaxoSmithKline Foundation Sarns Ann Arbor Fund Eugene and Emily Grant Family Foundation The Seattle Foundation Mohamed and Hayat Issa/Issa Foundation SliBIR & M"J.INI (.tllneT1O\ Bank a ~ ql; CHOWDHURY ",ts.umlch.edu'tgi,· J OUlufo. I ion -:Pf~ IIO ~IG:\{AN. DEVOTION TO THE ARTS, JULY 20ll-JUNE 2016 To help ensure the future of UMS, the following donors have made pledges that are payable over multiple years. We are grateful to these generous donors for their commitments. $500,000 $100,000 Maxine and Stuart Frankel Foundation Wally and Robert Klein $50,000 Miller, Canfield, Paddock and Stone. P.L.c. Dennis and Ellie Serras Gilbert Omenn and Martha Darling Glenn E. Watkins Linda Samuelson and joel Howell Marina and Robert Whitman jane and Edward Schulak Ann and Clayton Wilhite $25,000 junia Dean DodyViola UMS BOARD OF DIRECTORS The UMS Boord of Directors Is a group of elected volunteers devoted to the performing arts and to our community. Their hard work ensures thot UMS is able to offer outstanding performances year after year. David J. Herzig, Julia Donovan oarloYJ Sharon ROI:hWell 0>0" Monlque Deschaine Cheryl L Soper Junia Ooan Rick 5p(oJUng Stephen G. Palms, Stephen R Forrest Karen}Ones Stutz VIc" Choir Christopher Genteel Patrlda P. Green, Anne Glendon, Richard F. Gutow Supe1'/n(end0'lt, SW'etory Sheila M. Harden Ann Arbor Public Schods Daniel Herwltz David N. Parslgian, A DouBlas Rothwell Treasurer Joel D. Howell Christopher Kendall Chair. Corporattl Council Rachel Bendit S. Rani Kotha James C. Stanley, OJ Boehm Frank Legackl Past 8cord Chat Janet callaway MeMn A. Lester David (anter Robert C. Macek Clayton E. WIlhite, Marl< Clague Lester P. Monts Chair. Notional Council Mary SUe Coleman Donald Morelock Eileen Thacker, Martha Darting Agnes Moy-Sarns Choir, A<:Msory Committee PhotobyRoot~~ O'Ccnnoc. UMS SENATE The UMS Senate;s composed of former members of the Board of Directors who dedicate time and energy to UMS and our community. Their ongoing commitment and gracious support of UMS are greatly appreciated. WadadAbed David B. Kennedy Peter Sparling Robert G. Aldrich Gloria James Kerry James c. Stanley Michael C. Allemang Thomas C. Kinnear Lois U. Stegeman Carol L. Amster Marvin Krislov Edward D. Surovell Gail Davis-Barnes F. Bruce Kulp James L Telfer Kathleen Benton Leo A Legatski Susan B. Ullrich Lynda Berg Earl Lewis Michael D. VanHermert Richard S. Berger Patrick B. Long Eileen Lappin Weiser Maurice S. Binkow Helen B. Love B. Joseph White Lee C. Bollinger Cynthia MacDonald Marina v.N. Whitman Charles W. Borgsdorf judythe H. Maugh Clayton E. Wilhite Janice Stevens-Botsford Rebecca McGowan Iva M. Wilson Paul C. Boylan Barbara Meadows Karen Wolff Carl A. Brauer, Jr. Joetta Mial William M. Broucek Alberto Nacif Barbara Everitt Bryant Shirley C. Neuman Robert Buckler Jan Barney Newman Letitia J. Byrd Roger Newton Kathleen G. Charla Len Niehoff Leon S. Cohan Gilbert S. Omenn JillA. Corr Joe E. O'Neal Peter B. (orr John D. Paul Ronald M. Cresswell Randall Pittman Hal Davis Phil Power Sally Stegman DiCarlo John D. Psarouthakis Robert F. DiRomualdo Rossi Ray-Taylor Al Dodds John W. Reed James J. Duderstadt Todd Roberts Aaron P. Dworkin Richard H. Rogel David Featherman Prudence L Rosenthal David J. Flowers A Douglas Rothwell George V. Fornero Judy Dow Rumelhart Maxine J. Frankel Maya Savarino Patricia M. Garcia Ann Schriber Beverley B. GeItner Edward R. Schulak William S. Hann John J.H. Schwarz Randy J. Harris Erik H. Serr Walter L Harrison EllieSerras Deborah S. Herbert Joseph A Sesi Norman G. Herbert Harold T. Shapiro Carl W. Herstein George l. Shirley Peter N. Heydon John O. Simpson Toni Hoover Herbert Sloan Kay Hunt Timothy P. Slottow Alice Davis Irani Anthony L Smith Stuart A. Isaac Carol Shalita SmokIer Thomas E. Kauper Jorge A Solis UMS STAFF The UMS Staff works hard to inspire individuals and enrich communities by connecting audiences and artists in uncommon and engaging experiences. ADMINISTRATION & EDUCATION & TICKET OFFICE FINANCE COMMUNITY ENGAGEMENT Jenny Graf Kenneth C. Fischer Ticket Services Manager President James P. Leija Christina Bellows Director of Education & John B. Kennard, Jr. Ticket Of(lceAssodote Community Engagement Directcx of Administration Suzie Davidson Mary Roeder Kathy Brown Associate Ticket Services Associate Manager of Executive Assistant Manager Community Engagement Beth Gilliland Kate Gorman Omari Rush TessiturQ Systems Front-ot-House Education Manager AdministTOtcx Coordinotcx MARKETING & Patricia Hayes Willie Sullivan COMMUNICATIONS Financial Manager Front-of-HouselTicket Sara Billmann O{fJce Assistant John Peckham Director of Marketing & Information Systems Sarah Wilber Communications Manager Sales & Promotion Sophia Kruz Specialist DEVELOPMENT Video Producer & Editor Dennis Carter, Bruce Margie McKinley Anna Prushinskaya Oshaben. Brian Roddy Director of Development Manager of N€'vV Media & Head Ushers Susan Bozell Craig Online Initiatives UMS CHORAL Senior Manager of Truly Render UNION Corporate Partnerships Press & Marketing Jerry Blackstone Rachelle Lesko Manag€f Conductor & Music Development Coordinator PROGRAMMING & Director Lisa Michiko Murray PRODUCTION George Case Senior Manager Michael J. Kondziolka Assistant Conductor of Foundation & Director of Programming Government Grants Kathleen Operhall Jeffrey Beyersdorf Glorus Manager Joanne Navarre Technical Director Manager of Annual Nancy Paul Giving Anne Grove Librarian Artist Services Manager MarnieReid Jean Schneider Senior Manager of Mark Jacobson Accompanist Individual Support Programming Manag€f Scott Van Ornum Cindy Straub Michael Michelon Accompanist Associate Manag€f of Production Coordinator Donald Bryant Volunteers & Special Liz Stover Conductor Emeritus Events Associate Programming Manag€f UMS STUDENTS Students in our internship and work-study program gain valuable experience in all areas of arts management while contributing greatly to UMS's continued success. Brendan Asante Sigal Hemy Charlie Reischl Emily Barkakati Lauren Jacob Dereck Seay Justin Berkowitz Molly jeszke RhemeSloan Catherine Cypert Scott Kloosterman Jason Spencer Kari Dian Kat Lawhead Rachel Starnes Brianne Dolce Bryan Pansing Sarah Suhadolnik TIm Hausler Anna Piotrowski GeorgeXue UMS NATIONAL COUNCIL The UMS National Council is comprised of U-M alumni and performing arts enthusiasts across the country committed to supporting, promoting, and advocating for UMS with a focus on ensuring that the performing arts are an integral part of the student experience. Clayton Wilhite. Barbara Fleischman Elise Kirk Chair Maxine Frankel Wallis Klein Eugene Grant jerry Kolins Andrew Bernstein Charles Hamlen Zarin Mehta Kathleen Charla Katherine Hein james Read Jacqueline Davis David Heleniak Herbert Ruben Marylene Delbourg-Delphis james Stanley john Edman Toni Hoover judy lstock janet Eilber Russell Willis Taylor Patti Kenner Bruce Tuchman UMS CORPORATE COUNCIL The UMS Corporate Council is a group of regional business leaders who serve as advocates and advisors to UMS as we seek to broaden our base of corporate support throughout southeastern Michigan. A. Douglas Rothwell, Nolan Finley Ora Pescovitz Chair Stephen R. Forrest Sharon Rothwell Michele Hodges Frederick E. Shell Albert Berriz Mary Kramer Michael B. Staebler Bruce Brownlee Maud Lyon James G. Vella Robert Buckler David Parsigian David Herzig, Robert Casalou Ex-Officio Vivian Pickard Richard L DeVore At Toyota, we celebrate differences. And the people who make them. 'IOy«o io po_ to __ .... u.~ M"*,,I Sodoly oncllheir ".",nm".,,, to 00M0 Our environmental reporting uses hybrid technology: intelligence and insight. The Environment Report from Michigan Radio, every Tuesday and Thursday at 8:55 a.m. and 5:45 p.m. Understand Michigan ... NEWS • POLITICS • AR TS • BU SI NESS • ENVIRONMENT "",)'1"\ UENVIIONMEHT ~ MICHIGAN 91.7 FM Ann Arbor/Detroit REPORT mlchlqanradlo.orq ---- ~RADIO Your NPR news station UMS TEACHER INSIGHT Through UMS Teacher Insight, we stay aware of trends, changing resources, and new opportunities for learning in the K-12 classroom. Robin Bailey Neha Shah Melissa Poli Jennifer Burton Cynthia Page Bogen Rebeca Pietrzak Jeff Gaynor Karen McDonald Mark Salzer UMS ADVISORY COMMITTEE The UMS Advisory Committee advances the goals of UMS, champions the UMS mission through community engagement, provides and secures financial support, and assists in countless other ways as UMS ambassadors. Eileen Thacker, Jon Desenberg Christina Mooney Chair Leslie Desmond Amy). Moore Sharon Peterson Dort Benita Maria Murrel Gail Ferguson Stout, Julie Dunifon Chaity Nath Vice Chair Gloria J. Edwards Sarah Nicoli Audrey Schwimmer, Michaelene Farrell Kathleen Nolan Secretary Sara Fink Marjorie Oliver Barb Shoffner, Laurel Fisher Liz Othman Rosamund Forrest Elizabeth Palms Treasurer Kathy Goldberg Lisa Patrell Susan R. Fisher, Ken Gray Anna Peterson Past Olair Linda Grekin Ruth Petit Zakiyyah Ali Nan Griffith Susan Pollans Sandy Aquino Nicki Griffith Anne Preston Lorie Arbour jane Holland Polly Ricciardo Barbara Bach Nancy Karp Nan Richter Karen Bantel Kendra Kerr Valerie A Roedenbeck Pat Bantle Freddi Kilburn William Shell Linda Bennett Russell Larson Arlene P. Shy Francine Bomar Marci Raver Lash Ren Snyder Connie Rizzolo Brown Mary LeDuc Becki Spangler janet Callaway joan Levitsky Unda Spector Dennis j. Carter jean Long Nancy Stanley Cheryl Clarkson Melanie Mandell Louise Taylor judy Cohen Ann Martin Louise Townley Wendy Comstock Fran Martin Ebru Uras Linda Creps Robin Miesel Sarajane Winkelman Sheila Crowley Natalie Mobley EDWARD SUROVELL _- REALTORS surovell .com join us in supporting the University Musical Society. THE EXPERIENCE. GETTING THE MOST OUT OF THE PERFORMANCE We know that everyone enjoys the performance experience in different ways, so we encourage you to think about making choices when you enter the theater that allow you to be present, leave the worries of the day outside, and prepare to receive what the experience holds in store. Be aware of your surroundings. Clearing your mind and connecting with what an artist or ensemble has to share is a very special gift, a gift which comes from a lifetime of training. One of the joys of attending live performances is the ability to share our experiences with one another, so revel in your opportunity to socialize, talk to your friends, discuss the performance, or simply say "hello" to someone new. Feel the energy that a room full of people creates. Look around and take in the entire picture. What goes on in this venue and in this community is truly unique and special, and we must all cherish and protect it. SPECIAL CELEBRATION DINNER Chicago Symphony Orchestra PRELUDE Thursday, September 27, 5:30 pm Speaker: Ken Fischer, UMS President PRELUDE DINNERS DINNERS. Mariinsky Orchestra Saturday. October 2:1, 5:30 pm Enjoy a delicious meal and Speaker: Inna Naroditskaya, Associate Professor of Musicology, learn more about the evening"s Northwestern University concert at Prelude Dinners. New York Philharmonic Park early. dine with fellow Saturday. February 23, 5:30 pm patrons, and hear about the Speaker: Mark Clague, Associate artist, the performance, or the Professor of Music, U- M School of Music, Theatre & Dance history of the work from our renowned guest speakers. Each Alison Balsom, trumpet. and the Scottish Ensemble evening begins at 5:30 pm with Saturday, April 20, 5:30 pm complimentary wine followed by Speaker: TBD a catered buffet dinner provided For information and reservations, by local caterer Food Art. call RacheHe Lesko at 734.764.8489. PLEASE CONSIDER THE FOLLOWING: ell Turn off cell phones and electronic devices. We all know how terrible it is when a phone rings during a performance. It breaks that special bond between a performer and the audience. Illuminated screens on phones are also a visual distraction in a darkened theater. ell Our volunteer ushers are invaluable. They will show you to your seat, give you a program, help solve any problems, answer questions, and welcome you to the experience. Please do not hesitate to ask them for help. ell Wear what you want to the performance - this is Ann Arbor, after all! If you feel inspired to dress in some way related to the show, go for it Express your own creativity. ell Unwrapping candies and cough drops before the performance begins cuts down on disruptive noise while the performance is in progress. ell Think about whether it is necessary to wear your favorite perfume tonight. Chances are that the folks sitting around you may appreciate an unscented experience. ell The Good News: most of our performance spaces - especially Hill Auditorium - have world- class acoustics. The Bad N~s: that means that when you cough or sneeze without first covering your mouth, you make an especially clear statement to fellow audience members and performers alike. Feel free to ask an usher for cough drops when you arrive at an event. ell Thankfully, we manage to keep last-minute changes to a minimum, but please remember that all artists and repertoires are subject to change at a moment's notice. ell Programs with larger print are available by asking an usher. ell We make every effort to begin performances on time. The actual start time of a performance always reflects a combination of considerations. If you arrive after a performance has begun, we will get you inside the theater and to your seat as soon as it is appropriate. We work together with the artists to determine late seating breaks that will not disrupt their performance or the experience of the audience. ~~ Confucius Institutee ~ at the University ~' ~ of MIChigan ~ Will!!!::!: "''II.'f"'!i\\ " The Confucius Institute at the University of Michigan is your gateway to Chinese arts and cultures. Please contact us for details of upcoming exhibitions, lectures, performances and other events. 715 N. University, Suite 201 • Ann Arbor, MI 48104 USA Phone: 734.764.8888. Fax: 734.764.0808 [email protected] • http://confucius.uffiich.edu Bringing it all together We are a local. independent. fee-only advisory firm. Learn more about our team and strategies at: www.risadvisory.com 734-769-7727 00 Retirementlncome Solutions OQ Helping to grow and preserve your wealth 455 E. Eisenhower Parkway, Suite 300 Ann Arbor, Michigan 48108 A production by Kidd Pivot Cr~~by Crystal Pite Friday Evening. September 21. 2012 at 8:00 Saturday Evening. September 22. 2012 at 8:00 PowE'f Center' Ann Arbor This QVQnlng's (>QrtormanCQ Is approximately 80 minutes in duration and Is PQrformQd without Intllf'mlsslon. Pllf'tormllf's Bryan Arias Yannick Matthon jermaine Maurice Spivey Eric Beauchesne Jin Pokorny Sandra Marin Garcia Cindy Salgado Openlnl Performances of the 134th Annual Season 22nd Annual Oance Series o Composer Costume Builder Technical Director Owen Belton Linda Chow jeremy Collie-Holmes Sound Designers Prop Builders Assistant Technical Alessandro juliani, Hagen Bonifer, Arnold Director Meg Roe FrOhwald Wladimiro Woyno Voice Choreographer's Assistant Stage Manager Peter Chu, Meg Roe CarlStaaf Caroline Kirkpatrick Lighting Designer Production Assistant Company Manager Robert Sondergaard Sandra Li Maennel Brent Belsher Saavedra Set Designer International Agent jay Gower Taylor Management Menno Plukker Theatre josef Chung Agent Inc, Projection Designer Bernard Sauve jamie Nesbitt Sharon Simpson jim Smith Costume Designer Bonnie Sun Nancy Bryant World premiere: October 20, 2011 KOnstlerhaus Mousonturm, Frankfurt, Germany These performances are supported by the Renegade Ventures Fund, a mUlti-year challenge grant created by Maxine and Stuart Frankel to support unique, creative, and transformative performing arts experiences within the UMS season, The Saturday performance is supported by Richard and Linda Greene, Media partnership is provided by Between the Lines, Metro Times, and WDET 101.9 FM, Special thanks to Grace Lehman, Diane Carr, and the Ann Arbor Y, and Clare Croft and the U-M Dance Department for their support of and participation in events surrounding this week's performances by Kidd Pivot The Tempest RepUca is a co-production of KOnstlerhaus Mousonturm (Frankfurt), GemeinnOtziger Kulturfonds Frankfurt Rhein Main, Monaco Dance Forum (Monaco), Sadler's Wells (London), National Arts Centre (Ottawa), DanceHouse (Vancouver), L'Agora de la danse (Montreal), and SFU Woodward's (Vancouver), Kidd Pivot gratefully acknowledges Kemptener Tanzherbst (Kempten) and SFU Woodward's (Vancouver) for the residencies provided towards the creation of this work, Kidd Pivot gratefully acknowledges the support of the Canada Council for the Arts, the Province of British Columbia through the British Columbia Arts Council, the City of Vancouver. Eponymous gratefully acknowledges the support of the Canada Council for the Arts, Kidd Pivot would like to thank jim Vincent and joke Visser at Nederlands Dans Theater, Dorothee Merg, David Raymond and Tiffany Tregarthen, Kaja Maennel and Leela, Daniel and Katharina Wiedenhofer, Mauricio Salgado, Peter Chu, julie-Anne Saroyan, jason Dubois, and Artemis Gordon at Arts Umbrella, Kidd Pivot Performing Arts Society is a non-profit, charitable organization registered in British Columbia, Canada, Kidd Pivot I info@kiddpivotorg I www,kiddpivotorg ~ I SMALL BITES Crystal Pite is the artistic director and founder of Kidd Pivot which is based in Vancouver, British Columbia. Crystal broke out quite early in her career as both a contemporary ballet dancer and creative collaborator during her time with Germany's hugely famous Ballett Frankfurt under the direction of William Forsythe. Crystal integrates puppetry-in this instance, shadow theater-with dance movement in many of her works. Several of Crystal's works have reflected a creative engagement with other art forms, particularly literature. In addition to The Tempest referenced in tonight's piece, Field: Fiction (2002) was inspired by the book The Writing Life by Annie Dillard. Crystal says that The Tempest Replica is based on motives drawn from Shakespeare's text, but is in no way meant to be a staging of the play. CAST OF CHARACTERS Prospero, a magician and the uSlXped Duke of Milan Miranda, his daughter Ariel, a spirit, indebted to PrOSpE£O Caliban, resident monster of the Island, enslaved by Prospero Alonso, The King of Naples Sebastian, The King's brother:- Ferdinand, The King's son Antonio, Prospera's usurping brother SYNOPSIS Prospero, a magician and the usurped Duke of Milan, intends to have revenge upon his enemies by having them delivered, by shipwreck, to the island where he and his daughter Miranda have been exiled for 12 years. Prospero instructs the spirit Ariel to manifest a tempest, and the ship is wrecked upon the shores. Upon seeing the shipwreck, Miranda is panicked, fearing for the lives of the passengers. Prospero calms her, and explains that 12 years ago his brother, Antonio, jealous and frustrated with Prospero's studies of magic arts, conspired with King Alonso and the King's brother, Sebastian, to usurp Prospero from his Dukedom. The three nobles captured Prospero and his two-year-old Miranda, forced them into a small boat, and cast them out to sea with no oars or sail. Eventually they arrived at the Island, where they met the resident monster, Caliban, and Ariel, a spirit trapped on the Island by a witch's spell. Prospero tried to tame and educate Caliban along with Miranda, teaching him language and the ways of civilization, but when Caliban tried to rape Miranda, Prospero enslaved him. Now the three nobles have been delivered safely to the Island, along with the King's son, Ferdinand. Prospero's intention is to have revenge upon his enemies, and to arrange a proper marriage for Miranda to Ferdinand. • Following his explanation, Prospero casts a spell on Miranda so she sleeps, and summons the spirit ArieL Ariel, indebted to Prospero since he released her from bondage, yearns for the freedom he has promised her once her tasks are complete, After describing the shipwreck, Ariel reminds Prospero that he promised to free her. Prospero sternly tells her there is still much work to do, He asks Ariel to bring Ferdinand to Miranda so they can meet, When they behold each other, they fall instantly, desperately in love, In order to slow things down, Prospero pretends to mistrust Ferdinand, and forces him to perform hard physical labor as punishment On the other side of the Island, Ariel watches as King Alonso, Sebastian, and Antonio wash up on the beach, The men believe that Ferdinand may have drowned, The King is devastated, Ariel casts a spell to make him sleep, and watches as the other two men conspire to kill him, Just as Sebastian raises his sword to murder his brother, Ariel awakens him, The men make excuses, and the three nobles exit in search of Ferdinand, Meanwhile, Caliban, the enslaved monster, imagines killing Prospero and having the Island as his own, Prospero is haunted by the guilt and shadow of Caliban, but he is focused on his revenge against the three nobles, He instructs Ariel to create a magic banquet, The nobles, tired and hungry, discover a table laid with food and wine, but as they touch it, the banquet turns rotten and terrifying, Ariel appears as a giant harpy and condemns the men to madness, Following the banquet, Prospero releases Ferdinand from his heavy tasks and gives him Miranda's hand in marriage, He instructs Ariel to conjure a magical wedding, Prospero's joy at the wedding is interrupted by his thoughts of Caliban, and he leaves abruptly, Ariel reminds Prospero that the nobles are still suffering in their madness, Prospero is moved by Ariel's compassion and, choosing virtue over vengeance, decides to forgive the three men and to give up his magic forever. Upon releasing the men, he reveals to the King that Ferdinand is alive, introduces Miranda, and asks Ariel to magically repair the ship and send them all back to Milan where Prospero intends to enjoy the rest of his days as the Duke and a father. Finally, Prospero frees ArieL Caliban is left behind, ARTISTS ntegrating movement, original music, text, and rich visual design, KIDD PIVOT's performance work is assembled with recklessness and rigor, balancing sharp exactitude with irreverence and risk, Under the direction of internationally renowned ICanadian choreographer Crystal Pite, the company's distinct choreographic language-a breadth of movement fusing classical elements and the complexity and freedom of structured improvisation-is marked by a strong theatrical sensibility and a keen sense of wit and invention, Crystal Pite has collaborated with celebrated dance artists, theater companies, and filmmakers in Canada, Europe, and the US, Since 2002, she has created and performed under the banner of her own company, Her work and her company have been recognized with numerous awards and commissions, Kidd Pivot tours extensively around the world with productions that include The Tempest Replica (2011), The You Show (2010), Dark Matters (2009), Lost Action (2006), and Double Story (2004), created with Richard SiegaL Kidd Pivot is the recipient of the 2006 Rio Tinto Alcan Performing Arts Award, and was resident company at KOnstlerhaus Mousonturm, with the support of Kulturfonds Frankfurt Rhein Main, in Frankfurt, Germany from 2010 to 2012, This weekend's performances mark Kidd Pivot's UMS debut orn and raised on the Canadian West Coast, choreographer and performer CRYSTAL PITE is a former company member of Ballet British Columbia and William Forsythe's Ballett Frankfurt Ms. Pite's choreographic debut was in 1990, at Ballet British Columbia. Since then, she has Bcreated works for Nederlands Dans Theater I, Cullberg Ballet, Ballett Frankfurt, The National Ballet of Canada, Les Ballets Jazz de Montreal (Resident Choreographer, 2001-2004), Cedar Lake Contemporary Ballet, Ballet British Columbia, Alberta Ballet, Ballet largen, and several independent dance artists; most re<:ently Louise Le<:avalier. Ms. Pite is Associate Choreographer of Nederlands Dans Theater and Associate Dance Artist of National Arts Centre in Ottawa. In 2002 she formed Kidd Pivot and continues to create and perform in her own work. The company tours nationally and internationally, performing such highly demanded and critically acclaimed works as Darl< Matters and Lost Action, Kidd Pivot's residency at the KOnstlerhaus Mousonturm (2010-2012) in Frankfurt provided her the opportunity to create and tour her most recent works, The You Shaw and The Tempest Replica, with her dancers and collaborators, Ms, Pite is the recipient of the Banff Centre's Clifford E, Lee Award (1995), the Bonnie Bird North American Choreography Award (2004), and the Isadora Award (2005), Her work has received several Dora Mavor Moore Awards (2009, 2012), and a jessie Richardson Theatre Award (2006), She is the recipient of the 2008 Governor General of Canada's Performing Arts Award, Mentorship Program, Most recently, she was awarded the 2011 jacob's Pillow Dance Award and the Canada Council's 2012 jacqueline Lemieux Prize, A native of Puerto Rico, BRYAN ARIAS moved to New York City with his family at the age of eight Mr, Arias attended La Guardia High School for the Arts and Manhattan Youth Ballet SchooL In 2008 he moved to the Netherlands for four years to dance with the Nederlans Dans Theater II and later NDT L There he was part of original creations and performed works by jiri Kylian, Ohad Naharin, and Crystal Pite, This is his first season with Kidd Pivot Born in Becancour, Quebec, ERIC BEAUCHESNE graduated from L'Ecole superieure de danse du • Quebec, In 1994, he left for Europe where he became a member of the Badisches Staatstheater Karlsruhe and later the Stadttheater Moenchengladbach in Germany. From 1997-2004. he danced with Les Ballets jazz de Montreal with whom he toured extensively the works of more than 15 choreographers including James Kudelka, Patrick Delcroix, and Crystal Pite. He has had the privilege of performing with La Fondation Jean-Pierre Perrault, Paul-Andre Fortier, Sylvain Emard Danse, Lina Cruz, Ezdanza, Aszure Barton, ProArteDanza, Van Grimclel Corps Secrets, and Louise Lecavalier. He has been part of Kidd Pivot's projects since 2004 as a performer and recently collaborated as repetiteur and teacher for Kidd Pivot, Cullberg Ballet, Ballet British Columbia, and Nederlands Dans Theater in the remount of Ms. Pite's past work. SANDRA MARIN GARCIA was born in Barcelona, where she studied at the Institute of Theatre, Dance and Choreography. Ms. Garcia joined the company Concert Dansa Dark, under the direction of Guillermina ColI. After that, she worked for the Polish Dance Theatre, Vorpommern Theater Greifswald & Stralsund. Stadttheater Dortmund, Scapino Ballet Rotterdam, Cullberg Ballet, and Nederlands Dans Theater 1. She has worked with such choreographers as Johan Inger, lightfoot-LeOn. Mats Ek, Jiri Kylian. and Crystal Pite. She has taught workshops organized by the educational department at the Nederlands Dans Theater and has taught at the Maximum Dans Course in Den Haag in Summer 2010 and in the 2011 Nederlands Dans Theater Summer Intensive. She has led workshops at the Conservatorio Superior de Danza de Madrid Maria de Avila. Ms. Garcia joined Kidd Pivot in August 2010. A Montreal native, YANNICK MATIHON studied at L·ecole superieur de danse du Quebec under the mentorship of renowned teachers Daniel Sellier and Max Ratevosian. himself a pupil of Pushkin. Upon graduation, he joined Alberta Ballet where he was entrusted with lead roles in his first year with the company. Some of his roles there included Romeo in Ali Pourfarock's Romeo andjuliet, the Son in Balanchine·s Prodigal Son, and Othello in Val Caniparoli adaptation of Shakespeare. After four years with the company, Mr. Matthon joined Les Ballets Jazz de Montreal (BJM). It was there in 2000 that he first met Crystal Pite. He left BJM in 2002 to become a freelance artist, and as such his career grfi!W more eclectic. Since, he has had the opportunity to work with Aszure Barton, Benoit Lachambre. Dominique Porte, Lee Su-Feh, Myriam Naisy, Robert Battle, Serge Denoncourt, Shawn Hounsell, The Holy Body Tattoo, Victor Quijada, and Wen Wei Wang. Mr. Matthon recently passed the 1000th representation milestone and is honored to have done so while with Kidd Pivot. Born in Prague, Czech Republic, JlA:I POKORNY currently lives in The Hague, Netherlands. After his studies at the National Conservatory in Prague he joined Laterna Magika Praha where he danced for three years. He joined Nederlands Dans Theater 11 for three seasons and then the main company. NDT I, for four years. He has worked with Jiri Kylian, Sol Leon, Paul Lightfoot, Mats Ek, Stefan Toss, and Crystal Pite. As a choreographer he has created three small works for Switch, a program at NDT. and he created his first larger piece for the students of Maximum Dance Course in The Hague. He has also been collaborating with Spitfire Company in Prague. Mr. Pokorny joined Kidd Pivot in August 2010. Born in Sunnyvale. CA, CINDY SALGADO trained in multiple styles of dance and continues to explore a range of inspirations. After graduating from The Juilliard School in 2005. with the Princess Grace Award, she began freelancing in Nfi!W York. She danced for Aszure Barton & Artists on diverse projects such as Busk and Mikhail Baryshnikov's Hell's Kitchen Dance Tour. She has been an assistant for Andy Blankenbuehler in preproduction for The Wiz, In The Heights, Bring It On, and recently did a workshop for Pan. Ms. Salgado has worked for Mia Michaels as both a performer and an assistant on projects like So You Think You Can Dance. Delirium (a Cirque du Soleil production), and Anna Vissi concerts in Greece. She performed in the first chuthis. full-evening work in 2008. She has taught and choreographed for dance schools throughout the US, and has been a guest teacher at Santa Clara University. She is a cofounder and teacher for Artists Striving To End Poverty. an outreach organization that provides arts programming for underserved children in New York, Florida, South Africa, and India. Ms. Salgado joined Kidd Pivot in January 2009 for the creation of Dark Matters. JERMAINE MAURICE SPIVEY was born in Baltimore. MD where he began his dance training and attended the Baltimore School for the Arts. After graduating with a BFA in dance from The Juilliard School in 2002, he moved to Lisbon, Portugal where he danced with Ballet Gulbenkian, In 2005, Mr, Spivey joined the Cullberg Ballet, where he met Crystal Pite, and performed with the company until Summer 2008, He has received several awards in dance including the National Foundation for Advancement in the Arts First Level Scholarship and the Princess Grace Award, Mr. Spivey has been performing with Kidd Pivot since August 2008. OWEN BELTON (Composer) graduated from Simon Fraser University in 1993 and studied music composition with Barry Truax and Owen UnderhilL In his work, he blends acoustic and electronic instruments and found sounds, often in combination with computer processing techniques, Over the last 10 years he has written music for dance companies including Kidd Pivot, the National Ballet of Canada, the Cullberg Ballet, Nederlands Dans Theater, and the Royal Ballet He has been collaborating with Crystal Pite since 1994 for Kidd Pivot Mr. Belton also creates scores and sound design and has worked with Touchstone Theatre, Headlines Theatre, and Theatre Replacement ROBERT SONDERGAARD (Ughting Designer) is a Vancouver-based designer with a diverse portfolio spanning over 15 years, He has collaborated with Crystal Pite since 2008 as well as designing for Nederlands Dans Theater, Ballet BC, MovEnt, 605 Collective, and Science Friction, In addition to dance, Mr, Sondergaard has an extensive television portfolio including the Opening and Closing Ceremonies of the 2010 Vancouver Paralympic Winter Games, four Grey Cup halftime shows, the 2007 and 2011 Opening and Closing Ceremonies of the Canada Winter Games, the Gemini Awards, and the Anne Murray: Friends & Legends speciaL He is a member of the Associated Designers of Canada, JAY GOWER TAYLOR (Set Designer) started out as a professional dancer enjoying a 20-year international career. Parallel to his dance career, Mr, Taylor developed skills as a designer, Some of his first designing opportunities were with dance makers, collaborating with Serge Bennathan on Absences, The Invisible Ufe ofJoseph Finch, and the film Quand les grandmeres s'envolentfor CBC's Opening Night More recently, he designed Conversation, the play version of Finch, and Elles for Bennathan, and the Electric Company's live cinematic interpretation of jean-Paul Sartre's No Exit For Crystal Pite, he designed Plot Point, Frontier, and Solo Echoat Nederlands Dans Theater, Emergence at the National Ballet of Canada, and Dark Matters and The Tempest Replica for Kidd Pivot NANCY BRYANT (Costume Designer) is based in Vancouver, She designed costumes for Crystal Pite's Plot Point at Nederlands Dans Theater, Other designs for dance include work for Dance Theatre of Harlem, Ballet de Monte Carlo, Stuttgart Ballet, National Ballet of Canada, and Ballet British Columbia, Designs for opera include work for the Vancouver Opera: The Three Penny Opera, and for The Pacific Opera Victoria: The Rake's Progess, Rode/indo, and The Rying Dutchman. She has received 12 jessie Richardson awards for her design work in VancoLNer theater and a Leo award for the costume design in the film Earthsea, ALESSANDRO JULIANI and MEG ROE (Sound Designers) are based in Vancouver, Their work has been seen and heard across Canada and around the world at: Canadian Stage, Factory Theatre, Centaur Theatre, Bard on the Beach, Ruby Slippers Theatre, Electric Company Theatre, Blackbird Theatre, Arts Club, The Vancouver Playhouse, The National Arts Centre, Theatre junction, Citadel Theatre, Belfry, Intrepid Theatre, Theatre SKAM, Theatre Aquarius, Western Canada Theatre, American Conservatory Theatre, Center Theater Group (Los Angeles), and the Britten/Pears Festival (AIde burgh, UK), JAMIE NESBITT (Projection Designer) designs across North America, His resume includes: The Canadian Stage Theatre company, the National Arts Centre, The Vancouver Playhouse, Theatre Calgary, Bard on the Beach, The Arts Club, The Electric Company, Pi Theatre, The Belfry, The Actors Repertory Company, Cahoots, The Citadel, Touchstone Theatre, November Theatre, Company 14, and The Yukon Arts Centre, A graduate of Studio 58, he is the recipient of seven jessie Richardson Award nominations, one Jessie Richardson Award, the 2008 Mayor Arts Award, the 2007 Sam Payne Award, and the 2006 Earl Klien Memorial Scholarship, HILL AUDITORIUM A 100-YEAR CELEBRATION Hill Auditorium enriches our lives today because Arthur Hill made a gift through his estate to fund this great hall at the University of Michigan. For 100 years, UMS has relied on estate gifts and annual support to help us animate the stage of Hill Auditorium with world-class performers. Thank you for your past, present, and future support. If you'd like to make a donation. please contact Margaret McKinley at 734.647.1177 or [email protected]. Riccardo Muti Conductor Thursday Evening, September 27, 2012 at 7:30 Hill Auditorium · Ann Arbor Third Performance of the 134th Annual Season 134th Annual Choral Union Series Photo: First audlen Richard Wagnflr The Flying Dutchman (excerpt) Mason Bat(1S Alternative Energy Ford's Farm, 1896- Chkaso, 2012 Xinjiang Province, 2112- Reykjavik, 2222 INTERMISSION Cesar Fronck Symphony in d minor Lento-Allegro non trappa Allegretto Allegro non trappa Tonight's perfOl'mance is sponsored by the University of Mkhigan Health System Funded in part by the National Endowment for the Arts. Media partnership is provided by WGTE 91.3 FM, WRCJ 90.9 FM, and Ann Arbor's I07one. The Stelnway plano used In this evening's performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening's performance. Special thanks to Steven Ball for coordinating the pre-concert music on the Charles Baird Carillon. ~ I SMALL BITES The Frieze Memorial Organ, which figures prominently in the architecture and decor of Hill Auditorium, was first built for the World's Columbian Exposition in Chicago (1892-1893) and then purchased by U-M and installed in Ann Arbor " ... Ias] an educational force in the hearts and lives of our young people ___ May it touch and thrill their innermost natures ___ lifting them away from that which is mean and trivial into the clear shining of the ideal." A work by composer Mason Bates was also featured as part of last season's American Mavericks Festival produced by Michael Tilson Thomas and the San Francisco Symphony. Cesar Frank was a committed Wagnerian, meaning, he took a pro-Wagner position in the on-going artistic debate over Richard Wagner, his impact on music and opera, and the importance of his art and philosophy. When it first opened, Hill Auditorium seated just over 4,500 people. Its official maximum capacity today is 3,530. WHY HILLlOO? Meaningful relationships developed over long-periods of time are one of the hallmarks of UMS and its history of orchestral music presentation. Hill Auditorium has been witness to these partnerships and has literally set the stage for a century of music sharing between international artists and Michigan audiences. Few of these long-standing orchestral relationships are richer than that with the Chicago Symphony Orchestra (CSO).' The CSO performed the opening concert in Hill Auditorium on May 14, 1913 at the 20th Annual May FestivaL Indeed, the CSO played the first five concerts in the new Hill Auditorium! The programs were led by their second full-time music director, the German-born Frederick Stock. To put things in historical perspective: · 1879 UMS is founded. • 1891 The Chicago Orchestra is founded and led by its first music director, Theodore Thomas. • 1904 Orchestra Hall opens in Chicago. • 1905 The Chicago Orchestra is renamed the Theodore Thomas Orchestra after the death of its founding music director in January. • 1913 Hill Auditorium opens the same year that the Theodore Thomas Orchestra officially changes its name to the Chicago Symphony Orchestra. Any good German conductor in 1913 would be especially predisposed to include the works of Richard Wagner prominently on his programs. Audiences and musicians alike were still very much in the throes of "Wagnermania." The composer had only been dead for 30 years, the cult of Wagner was still very much in fashion, and the young C50 had already established itself as a major champion of his new music in America No fewer than seven works of Wagner were included in these first five CSO concerts in Hill including the opening work on tonight's program, The Rying Dutchman overture. So popular was Wagner with audiences at the time of Hill's opening that a full evening entitled "Wagner Night" was mounted. It included complete acts or scenes from three of Wagner's operas-Lohengrin, GOtterdammerung, and Die Meistersinger von NOmberg. Tonight's concert marks the eso's 204th UMS concert Tonight also marks Maestro Riccardo Muti's eighth appearance under UMS auspices. Maestro Muti made his UM5 debut in April 1979 conducting the Philadelphia Orchestra in a program of Mendelssohn and Tchaikovsky during the 86th Annual May Festival at Hill Auditorium. .. ' The only orchestra with a longer history than the eso for UMS concerts given in Hill is the Philadelphia Orchestra. NOW THAT YOU ' RE IN YOUR SEAT ... Some people like to compare symphony orchestras to museums-and they don't mean it as a compliment. They are implying that orchestras too often play the same standard repertoire, written more than a century ago. The cliche is very unfair to museums: after all, we all love to visit them without seeing any problem with the age of the artwork. There is a very good reason why we want to see, or hear, the great masterworks of the past: precisely because they are masterworks and have a message that transcends time. The music of the 19th century. sometimes called the Romantic century. continues to have an extraordinary appeal to present-day audiences. It emphasizes the expression of emotions (often extreme ones) in a way that listeners find irresistible; in addition, it speaks a language that, while it was certainly innovative in its own time, has become familiar to music lovers everywhere, We certainly wouldn't want to be without the tradition represented on tonight's program by an early work by Wagner and a late composition by Franck; this is music in which we may discover new beauties every time we encounter it. And yet, time doesn't stand still. Today as always, there are emotions, ideas, and life experiences waiting to be expressed in music, and just as the classics introduced innovations in their works, today's composers also want to change the way music is written and perceived, A young American in his 30s like Mason Bates, who grew up in the electronic age, will have very different things to say than did a European living 150 years ago, for whom the railway was the latest in technology, Wewho live in the same age as our young composer should have no difficulty following him on his path toward new adventures, And as we move from the Old Masters section into the contemporary wing of our musical "museum," we can only marvel at the inexhaustible variety of the art form and its endless capacity for self-renewal. The FLyin g Dutchman (excerpt) (1843) Richard Wagner Born May 22, 1813 in Leipzig, Germany Died February 13, 1883 in Venice,italy SNA PS H O T S O F HI S TORY, I N 18 4 3; , The State of Michigan, admitted to the Union in 1837, is six years old , Charles Dickens writes A Christmas Carol ' Donizetti's opera Don Pasquale in first performed , The British weekly The Economist begins publication , Felix Mendelssohn founds the Leipzig Conservatory Although the United States of Richard Wagner's time was a heyday for home-grown talent and innovation-led by figures such as Lincoln, Edison, Twain, and Longfellow Americans were obsessed with the music of a fiercely Germanic composer and his mythical tales of old-world heroes, Wagner himself wasn't surprised that a country "with no history behind it" would be receptive to his brash new ideas and pioneering music, and he often talked about visiting or even trying to work in the States-"the ground there is easier to plant" is how he put it. Among the earliest of his champions in this country was Theodore Thomas, who started conducting Wagner's music when it was brand new-some three decades before he founded the Chicago Symphony Orchestra, In fact, Thomas's debut concert as a symphonic conductor, in New York City in 1862, opened with the American premiere of The Flying Dutchman overture that is performed at this evening's concert. Over the next few years, he introduced some of Wagner's most important works to this country-the prelude to Tristan and Isolde in 1866, less than a year after the world premiere of the opera in Munich, and the Meistersinger overture seven months later. When Thomas moved to Chicago in 1891 to establish the Chicago Symphony, he saw to it that the very first music the orchestra ever played was by Wagner: the little performed A Faust Overture opened the inaugural concert on October 16, 1891, just eight years after Wagner's death. Thomas introduced Chicago to The Flying Dutchman overture that February. During Thomas's tenure in Chicago, Wagner's music appeared on more than half of the orchestra's subscription programs. Louis Sullivan, whose Auditorium Theatre was the first home of the Chicago Symphony, recalled being overwhelmed by concerts of Wagner"s music in Chicago-""revealing anew, refreshing as dawn, the enormous power of man to build. as a mirage. the fabric of his dreams." When Thomas died in 1905. only weeks after the opening of Orchestra Hall, which featured Wagner's name prominently on the fa<;ade, the tradition of playing Wagner's music was well established in Chicago. When Thomas introduced Chicago Symphony audiences to the overture to The Flying Dutchman, here is how the 1892 program book summarized the opera's genesis and storyline: ... Wagner read Heine's legend of "The Flying Dutchman," the unhappy mariner, who after trying long in vain to pass the Cape of Good Hope. had sworn not to desist if he had to sail on the ocean to eternity. For his blasphemy he was condemned to the fate of the Wandering Jew, his only hope of salvation lying in his release through the devotion unto death of a woman. and to find such he is allowed, every seven years. to go on shore. Senta finally proves his saving angel, although at the cost of her life. In his essay "On the Overture" that was published in January 1841. while he was in the middle of work on The Flying Dutchman, Wagner criticized the common potpourri overture for its crass showmanship rooted purely in "a theatrical desire to please." Instead, he claimed an overture should lead "the central idea at the heart of the drama to a conclusion which would correspond, with a sense of presentiment, to the resolution of the action on stage." The overture to The Flying Dutchman is based on two themes the Dutchman and his redemption-interwoven with musical motifs associated with the sailors and their lovers' spinning wheels, and highlighted by a hair-raising forecast of one of music's fiercest storms. Alternative Energy (2011) Mason Bates Born January 23, 1977 in Philadelphia, PA SNA PS H O T S O F HI STO RY . . . I N 20 11 : • The Arab Spring: long-time dictators are toppled in Tunisia, Egypt, and Libya • Osama bin Laden is killed by a US military operation in Pakistan · The Help, a novel by Kathryn Stockett, tops the New York Times bestseller list: its movie version is also a major success • Painter Leonora Carrington, one of the last surviving members of the Surrealist movement, dies in Mexico City at the age of 94 • Dominique Strauss-Kahn is forced to resign as Managing Director of the International Monetary Fund after being accused of sexual assault Mason Bates first made a name for himself as a composer who liked to incorporate electronics within orchestral music. That was not really unexpected from someone who first heard an orchestra listening to Pink Floyd and Moody Blues albums and was taken by the seamless fusion of orchestral and electronic elements. When Bates started going to hear the Richmond Symphony in Virginia, where he grew up, he suddenly made contact with the great composers. and he began to develop an understanding of the orchestra's place in history. After a traditional musical upbringing in Richmond. which included piano lessons and singing in the choir. Mr. Bates studied composition and English literature in the Columbia-juilliard joint program. He worked with David Del Tredici and John Corigliano. and then moved to the Bay Area in 2001 to enroll in the PhD program at Berkeley's Center for New Music and Audio Technologies. His career. like his music. is a singular mix of old-world establishment and New Age culture: he has been lavished with big-league honors, from institutions such as the American Academy in Rome and the American Academy for Arts and Letters (an award that "acknowledges the composer who has arrived at his or her own voice"), and he also has spent many nights as a DJ. spinning and mixing at dance clubs in San Francisco. New York City, Berlin, and Rome. Alternative Energy. which occupied Mr. Bates for much of 2011, marks a new stage in his evolving-"and. perhaps. maturing," as he says-approach to integrating electronics into the orchestra. 'The sounds coming from the speakers are as carefully crafted as the sonorities in the orchestra," he says. "and the influences reach far beyond techno." And the use of scrap metal in his large percussion battery. as well as sound samples collected from a particle accelerator at Fermilab outside Chicago, is merely part of Mr. Bates's ongoing quest to expand-and refine-his vocabulary of sound. Offsetting high tech electronic sounds with old car parts fits perfectly with the sense of passing time and changing worlds that lies behind Alternative Energy. "The idea was that each movement would be separated by a hundred years." Mr. Bates says. "starting with old energy (the first movement uses scrap metal to evoke a junkyard) and moving to new energy (the second movement uses actual recordings from Fermilab to evoke a particle accelerator)." Mr. Bates is. above all, a storyteller. and for him all music tells stories of one kind or another. "Sometimes that story is entirely on the level of pure sound," he says, "but I find it especially exciting when fresh orchestral writing animates an imaginative extramusical narrative (as in Berlioz's Symphonie fantastique or the Stravinsky ballets)." Mr. Bates had been tossing around the ideas behind Alternative Energy for a long time, but hearing Riccardo Muti's performance of the Symphonie fantastique in Chicago last season and getting to know his "unique understanding of dramatic music" brought his "energy symphony" to life at last Alternative Energy is his first work written expressly for the Chicago Symphony and Riccardo Muti since Mr. Bates became one of the Chicago Symphony's Mead Composers-in-Residence in 2010. Mason Bates on Alternative Energy: Alternative Energy is an "energy symphony" spanning four movements and hundreds of years. Beginning in a rustic Midwestern junkyard in the late-19th century. the piece travels through ever greater and more powerful forces of energy-a present-day particle collider. a futuristic Chinese nuclear plant-until it reaches a future Icelandic rain forest, where humanity's last inhabitants seek a return to a simpler way of life. The ideeJixe that links these disparate worlds appears early in Ford's Farm. 1896. This melody is heard on the fiddle-conjuring a Henry Ford-like figure- and is accompanied by junkyard percussion and a "phantom orchestra" that trails the fiddler like ghosts. The accelerando cranking of a car motor becomes a special motif in the piece, a kind of rhythmic embodiment of ever more powerful energy. Indeed. this crank motif explodes in the electronics in the second movement's present-day Chicago, where we encounter actual recordings from the Fermilab particle collider. Hip-hop beats. jazzy brass interjections. and joyous voltage surges bring the movement to a clangorous finish. Zoom a hundred years into the dark future of the Xinjiang Province, 2112 where a great deal of the Chinese energy industry is based. On an eerie wasteland, a lone flute sings a tragically distorted version of the fiddle tune, dreaming of a forgotten natural world. But a powerful industrial energy simmers to the surface. and over the ensuing hardcore techno, wild orchestral splashes drive us to a catastrophic meltdown. As the smoke clears, we find ourselves even farther into the future: an Icelandic rain forest on a hotter planet. Gentle. out-of-tune pizzicatos accompany our fiddler. who returns over a woody percussion ensemble to make a quiet plea for simpler times. The occasional song of future birds whips around us. a naturalistic version of the crank motif. Distant tribal voices call for the building of a fire-our first energy source. Symphony in d minor (1886-1888) Cesar Franck Born December la, 1822 in Liege, Belgium Died November 8, 1890 in Paris S N A PS H O T O F HI STO RY .. IN 1888: , Tchaikovsky completes his Fifth Symphony , Vincent van Gogh paints his famous series of sunflowers in Aries, France , August Strindberg writes his influential play Miss Julie , The Amsterdam Concertgebouw opens ,The Washington Monument opens to the public in Washington, DC Cesar Franck matured as a composer very late in life, but he first won acclaim as a child prodigy, He was born in Liege, in the French-speaking Walloon district of the Netherlands; this heritage was reflected in the mixture of French and Flemish in his name, Early on he showed unusual musical talent, which his father, Nicolas-Joseph, set about nurturing, promoting, and finally exploiting, In 1830, his father enrolled him in the Liege Conservatory, and Cesar made his first tour as a virtuoso pianist at the age of II, traveling throughout the newly formed kingdom of Belgium, Having outgrown the Liege Conservatory, Cesar moved to Paris, with his entire family in tow, for advanced study in 1835, When the Paris Conservatory initially rejected his application because of his Belgian birth, Nicolas-Joseph sent for French naturalization papers, Cesar was an exemplary student, and he walked off with many top prizes, He was always interested in composing, but his father discouraged him from entering the prestigious Prix de Rome competition in the hope that he would devote his life to concertizing, Nicolas Joseph even pulled Cesar out of school in 1842 to send him off on another recital tour, which was highlighted by a meeting with Franz Liszt, who encouraged him to keep composing, Franck next won fame as an organist and a composer of organ music, Then, in middle age, he devoted himself to teaching, and, in the process, influencing an entire generation of French composers, including Vincent d'indy and Ernest Chausson, who were nearly idolatrous in their devotion, Like Bruckner (with whom he has sometimes been compared), Franck came into his own as a composer late in his career. His major works-this Symphony in d minor, along with the violin sonata and the piano quintet, the Symphonic Vcxiations for piano and orchestra, and several symphonic poems-were all written between 1880 and 1890, the last decade of his life, The Symphony is by far the best known of Franck's orchestral works, Although Franck called it a symphony in response to his students, who quite literally demanded that he try his hand at the form, it is not so much a work in the tradition of Beethoven as a hybrid characteristic of Franck, combining elements of both symphony and symphonic poem in a thematically unified whole, Even in the late 1880s, the French musical public was put off by the unclassifiable nature of the piece, 'The subscribers could make neither head nor tail of it," d'indy wrote of the chilly reception at the premiere, "and the musical authorities were in much the same position." Although we think of Franck as a one-symphony composer like his countryman Georges Bizet, he had in fact written an earlier symphony when he was studying in Paris that was plainly indebted to the Viennese classical tradition, The symphony he wrote in the mid-IBBOs, however, is the "real" Franck, inspired by the music of Liszt and Wagner, masters of thematic transformation, novel orchestral effects, and bold new forms, Franck also was influenced by the French orchestral tradition, although d'indy, ever the loyal pupil, insisted that Franck completed his symphony before he knew Saint-Saens's Organ Symphony, which was premiered in May 1886, The Symphony in d minor has three movements, a formal layout that Franck used in nearly all his major works, The entire score is saturated with the main theme of the first movement, a three-note motif that echoes the famous questioning motto of Beethoven's last string quartet-he gave it the words Muss es sein? (Must it be?)-which Liszt later transformed to unforgettable effect in his symphonic poem Les preludes, (It also is mirrored in Wagner's "fate" motif in The Ring.) The opening movement follows the general guidelines of sonata form, but it also ranges widely, reinventing and transforming its basic thematic material as it goes; it offers a tantalizing suggestion of the kind of magic Franck must have created improvising at the organ. The "Allegretto" is both slow movement and scherzo rolled into one. Its main melody. unfolded at a leisurely pace, is introduced by the English horn, an unconventional choice that particularly offended one of the conservatory professors who attended the premiere; ·'Just mention a single symphony by Haydn or Beethoven with an English horn," he demanded of d'lndy that night, failing to recall the quite fantastic symphony by Berlioz that makes magical (unforgettable. one would think) use of the instrument. Muted strings suggest the spirit of a scherzo. continuing and at the same time complementing what has gone before. '"The finale takes up all the themes again, as in [Beethoven·sl Ninth," Franck wrote. ·'They do not return as quotations, however; 1have elaborated them and given them the role of new elements." That is the essence of the entire score-music continuously revisited, transformed. and in the process reborn. ·'1 risked a great deal," Franck said of his new symphony, "but the next time 1shall risk even more." Perhaps chastened by the cool reception the work received. however, he wrote no more orchestral works. It was only after his death in 1890 that the Symphorry in d minor began to be played more and more-a spectacular performance in Paris in 1893 may have marked the turning point-eventually becoming the most popular work in Franck's small but prime catalog. Program notes fyy Phillip Huscher, program annotator for the Chicago Symphorry Orchestra. ARTISTS orn in Naples, Italy, RICCARDO MUTI first came to the attention of critics and public in 1967, when he won the Guido Cantelli Competition for conductors in B Milan. In 1971, Maestro Muti was invited by Herbert von Karajan to conduct at the Salzburg Festival, the first of many occasions which led to the celebration of 40 years of splendid collaboration with this glorious Austrian festival. Maestro Muti has served as music director of several international institutions; Maggio Musicale Fiorentino, Philharmonia Orchestra of London, Philadelphia Orchestra, and Teatro alia Scala. In 2004, he founded the Luigi Cherubini Youth Orchestra, which consists of young musicians selected from all over Italy. Over the course of his extraordinary career. Riccardo Muti has conducted the world's most important orchestras. including the Berlin Philharmonic, the Vienna Philharmonic, the New York Philharmonic, and the Bayerischer Rundfunk. He made his debut with the Chicago Symphony Orchestra at the Ravinia Festival in July 1973 and began his tenure as the CSO·s 10th music director in September 2010. Subsequently, he won his first two Grammy Awards for his recording of Verdi's Messa da Requiem with the CSO and Chorus. Innumerable honors have been bestowed on Riccardo Muti. He has received the decoration of Officer of the Legion of Honor from French President Nicolas Sarkozy in a private ceremony held at ~lysee Palace and was also was made an honorary Knight Commander of the British Empire by Queen Elizabeth II in Britain. In 2011, he was awarded Spain·s Prince of Asturias Prize, and was named an honorary member of the Vienna Philharmonic and an honorary director for life at the Rome Opera; he is also the recipient of the 2011 Birgit Nilsson Prize. In May 2012, he was awarded the highest papal honor; the Knight of the Grand Cross First Class of the Order of st. Gregory the Great by Pope Benedict XVI, as well as the McKim Medal from the American Academy in Rome. For further information, please visit riccardomuti.com and youtube.com/riccardomutichannel. he CHICAGO SYMPHONY ORCHESTRA «(SO) is consistently hailed as one of today's leading orchestras. In the 2010/11 season-the Orchestra's 120th Riccardo Muti began his tenure as the eso's 10th music director. T Throughout its history. the Chicago Symphony Orchestra has enjoyed leadership from an illustrious list of music directors. beginning with Theodore Thomas. who founded the Orchestra in 1891, followed by Frederick Stock. Desire Defauw. Artur Rodzinski. Rafael Kubelik, Fritz Reiner, Jean Martinon, Sir George Solti, and Daniel Barenboim. From 2006 to 2010, Bernard Haitink led the Orchestra as principal conductor. the first in eso history. Pierre Boutez, who was appointed principal guest conductor in 1995. has served as Helen Regenstein Conductor Emeritus since 2006. The CSO performs well over 150 concerts each year at Symphony Center and at the Ravinia Festival, where it is in residence each summer. The ensemble has embarked on 38 overseas tours since Sir Georg Solti led the first European tour in 1971, most recently visiting Italy and Russia in Spring 2012, making that trip the 29th tour to Europe and second to Russia. The CSO has traveled to the Far East six times as well as once each to Australia and South America. Recording has been a significant part of the CSO's history since 1916, and in 2007 the Orchestra launched its own record label, CSO Resound. CSO recordings have earned 62 Grammy Awards from the National Academy of Recording Arts and Sciences. most recently in 2011 for "Best Classical Album" and "Best Choral Performance" for Verdi"s Requiem conducted by Riccardo Muti. In 2007, the CSO returned to the national airwaves with its self-produced weekly broadcast series, which is syndicated to more than 300 markets nationwide on the WFMT Radio Network as well as on cso.org. Also that year, the CSO expanded its online presence with free video downloads of its innovative Beyond the Score presentations. The Chicago Symphony Orchestra Association also is the parent organization for the Chicago Symphony Chorus; Civic Orchestra of Chicago; the Symphony Center Presents concert series; The Institute for Learning, Access and Training; and the Symphony Center facility. Symphony Center Presents, the organization's presentation arm. offers more than 50 diverse performances each year, including piano and chamber recitals. visiting orchestras, jazz, world music, and the MusicNOW contemporary series. Mason Bates and Anna Clyne are the CSO·s Mead Composers-in-Residence, having taken up their posts in the 2010/11 season. They curate the MusicNOW series along with principal conductor Cliff Colnot and work with Maestro Muti to reach across traditional barriers and into the Chicago community. The Institute for Learning, Access and Training at the CSO, launched in October 2008, engages more than 200,000 Chicago-area residents annually. Under the auspices of the Institute, Yo-Yo Ma, who became the first judson and joyce Green Creative Consultant in january 2010, serves as an invaluable partner to Maestro Muti, CSO staff, and musicians by participating in the development of new initiatives and music series. Bank of America is the Global Sponsor of the Chicago Symphony Orchestra. CHICAGO SYMPHONY ORCHESTRA Riccardo Muti Music DlrQctor Pierre Boulez. f-Ie/tKl R~Qnsteln Conductor Emeritus Yo-Yo Ma, Judson and Joyal Green Creative Consultant Dualn Wolle, Chorus DlrKf:or Mason Bates and Anna Clyne. Mrrod Composers-In-Residence VIOLINS VIOLAS Stephen Lester Robert Chen Charles Pikler Bradley Opland Conc"rtmostlH Prlncfpot Thfl Louis C SudlQr U-KuoChang HARPS Choir, qndowQd by on Asslstont Principot Sarah Bullen anonymous ixlfKIfoctor The Louise H. Benton Principal Stephanie }eong Wagner Choir Lynne Turner Assodo!" ConCQftmostEf John Bartholomew David Taylor catherine Brubaker FLUTES Yuan-Qlng Yu Karen Dirks Mathieu Dufour Assistant DlaneMues Principol ConcQrtmastQl's' Lawrence Neumant Richard Graef So Young Bae Yukiko Ogura Asslstont Prlnclpol Cornelius Chiu Daniel Orbach Louise Dixon Alison Dalton Max Ralml Jennifer Gunn Kazue Funakoshl Weljlng Wang Russell Hershow Thomas Wright PICCOLO Qing Hou Jennifer Gunn Nisanne Howell CELLOS Blair Milton John Sharp OBOES Paul Phillips, Jr. Principal Eugene Izotov SandoShla The Eloise W. Mortin Prlnclpol Susan Synnestmt Choir The Nancy and Rong-Yan Tang Kenneth Olsen Lafry Ful/{lf Choir Assistant Principal Michael Henoch Baird Dodge TheAdele Gidwitz Choir Assistant Prlnclpol Princlpol Karen Basrak Gilchrist Foundation Lei Hout Loren Brown Choir NiMel Richard Hirschi Lora Schaefer Fox Fehling Daniel Katz Scott Hostetler Hermine Gagne Katlnka Kleijn Rachel Goldstein Jonathan Pegis ENGLISH HORN Mihaela Ionescu David Sanders Scott Hostetler Sylvia Kim Gary Stucka Melanie Kupchynsky Brant Taylor CLARINETS Wendy Koons Melr Stephen Williamson Aiko Nocla BASSES Principal Joyce Noh Alexander Hanna John Bruce Yeh Nancy Park Prlnclpol Assistant Principal Ronald Satklewlcz The David and Moty Gregory Smith Florence Sc hwartz-Lee Winton Green Principal J. Lawrie Bloom Jennie Wi!8ner Boss Choir Daniel Armstrong E- FLAT CLARINET Roger Cline John Bruce Yeh Joseph DiBello Michael Hovnanian BASS CLARINET Robert Kassinger J. Lawrie Bloom Mane: Kraemer BASSOONS TROMBONES PIANO DavId McGill Jay Friedman Mary Sauer Principal PrIncIpal Principal 'Nilliam Buchman Michael Mulcahy Assistant Principal Charles Vernon LIBRARIANS Dennis Mkhel Peter Cooover BASS TROMBONE Principal HORNS Charles Vernon Carole Keller Dale Clevenger Mark Swanson Principal TUBA Daniel Gingrich Gene Pokorny ORCHESTRA PERSONNEL. Associate Prlnclpo( Principal John Deverman James Smelser The Arnold Jacobs Director David Griffin PrIncipal Tuba Chair. Anne MacQuarrie OtoCarrlllo QndOVtlQd by Christine Manager. CSO AuditIons Susanna Gaunt QUllfteld and Orchestra PersonnQ( TRUMPETS TIMPANI STAGE TECHNICIANS Christopher Martin Vadim Karpinos Kelly Kerins Principal Acting Principal Stage Manager The Ado/ph Hers(!(h Dave Hartge Principal Trumpqt PERCUSSION james Hogan Choir. endowed by on Cynthia Yeh Christopher L.ewls anonymous bq{)Q(octcx Principal Patrick Reynolds Mark Ridel"lOU Patricia Dash Todd Snkk Assistant Principal Vadlm Karpinos }oe Tucker john Hagstrom James Ross Tase Larsen •As.lstant conc:e The ChicillO SympI'IOr'Iy a..cnt'Slril ltr1n8 sections UlII~e 'eYOIYlnI ..... ~ Player. beNnd the "... t _ (I"... t two deSlCS In the YIoIIn~ cl'linee .....ts s)'St«nilkiltv fNe Thursday, October 4, 7:30 pm 51. Francis of Assisl Catholic Church UMS is pleased to introduce thi highly praised all male choraIIfolk IT1U5Ic ensemble Basiani from the RQpubIic: of Geofgia. The ••traordnary program pgrlormro by Billiianl is fepf~ive of ~·s IT\IJsical heritage and comp~ samp/4I'S from a!moo;l eYefY geographk::al region 01 thi ~public. Media Partner WRCJ 90.9 FM ~ums I E ~ IlE S E"T Tickets on Sale Now For more information. visit www.ums.orgorcall 734.764.2538. CaiShaohua Director PertormQ(s Shen Fengying, Yu Hulin. Zhou Xuefeng, Shen Guofang, LU )Ia, LU Fuhal Musicians Zou ]lanllang, Dizi (flute) Zhol.l Zhihua, Dizi cnd Xlco ('vertlcot (lutQ) Xln Shltin, Percussion Fu Jlanping and Yao Shenxlng. Erhu Xu Chunxla, EThu and Zhonghu (fjddflS) Wang Ylngying. Pipe. Quxlan Ownqu /utQ), Zhong Ruon (lute). Guqln (seven-sUing zither) Artistic Staff Gu Ling. Make-up Artist Bal Llnsfang, Costume DeslgnQr Friday Evening, September 28. 2012 at 8:00 Lydia Mendelssohn Theatre' Ann Arbor Fourth Per10rmance of the 134th Annual Season PROGRAM Gao Lien Jade Hairpin (excerpt) Qintiao (Zither Seductions) PAUSE XuZichang All Men Are Brothers (excerpt) Huozhuo (Captured Alive) PAUSE Hong Sheng PaLace of EverLasting Youth (excerpt) Xlaoyan (Garden BanQuet) Tonight's pt'ogrcrn Is PQr(ormtldwlth two pauses and has a dilation 0( opptoxlmotQ/y 120 minutes. Tonight's performance Is sponsored by the Confucius Institute at the University of Michigan. Special thanks to Joseph Lam and the U-M Confucius Institute, and Elaine Sims and the U-M Health System Gifts of Art Pr08ram for their support of and participation In the Suzhou Kun Opera Theater residency. ~ I SMALL BITES Kunqu tells heartfelt and imaginative dramas. The Peony Pavilion, for example, tells how an elite, young lady finds love through her dream, death, and resurrection. Kunqu gives unforgettable performances. Kunqu brings historical and fictive characters alive on stage. Kunqu demonstrates Chinese emotions and perspectives. The Jade Hairpin asks, for instance, how should a talented young man choose between love or his career? Kunqu is in the midst of a popular performance resurgence that educated, young, and successful Chinese proudly claim as their own. Reflecting modern tastes and realities, current kunqu productions are grand and luxurious. Kunqu is controversiaL It is a 600-year-old opera that thrives in 21st-century and globalized China. INTRODUCTION In 2001, UNESCO declared kunqu, the 600-year-old grand opera of China, a Masterpiece of the Oral and Intangible Heritage of Humanity. The declaration not only affirms the artistic and cultural distinctions of the genre, which is known for its perfect blending of dramatic literature, soulful singing, and elegant dancing, but also creates a context for its revival in contemporary and globalized China. The genre now delights audiences inside and outside China with shows that judiciously blend classical stories and performance practices with contemporary staging interpretations and technologies. To experience kunqu is to encounter artistic and classical China interpreted for the globalized present. To experience kunqu is to see Chinese characters/roles, historical and contemporary. come alive on stage, revealing their Chinese emotions and values. Jade Hairpin (excerpt) Gao Lian (1573-1620) "Zither Seductions" is one of the most frequently performed scenes from the]ade Hairpin by Gao Lian, a celebrated scholar-official, dramatist, and book collector. A representative chuanql drama of China that has been continuously performed as kunqu since its publication, it tells a playful romance between a young man and a young woman who fall in love with one another inside a nunnery. A war refugee. Chen Miaochang, the young woman, becomes a reluctant nun; a scholar who has failed his examinations, Pan Bizheng, the young man, visits his aunt, the abbess. Having found one another in the nunnery where they cannot openly engage with one another, they secretly meet in the garden, seductively flirt by playing zither music, yearningly express their desires in their spoken and written words, and boldly consummate their love inside the religious site. Once their affair is exposed, he has to leave immediately. only to return as a successful scholar-official and a faithful lover. The drama is filled with playful actions, melodious singing, elegant dancing, and emotive moments, all of which delight audience's senses while challenging their understanding of social norms. Presented as the first work in this program, it is one of the most popular scenes from the drama. Entitled "Zither Seductions." it portrays Pan Bizheng, the young man, and Chan Miaochang, the young woman, meeting in a moonlit garden, taking turns playing the seven string zither, singing out their romantic intentions, and testing their partner's true intentions. Caught off-guard by Pan's manly advances which get bolder and bolder, she acts out a protest He apologizes, begs mercy, and leaves a rejected man. As soon as he is out of her sight, however, she confesses her genuine feelings to the empty garden. Lingering by the garden exit, he clearly hears every word of hers, and then tactfully coughs to announce his presence. With their romantic intentions thus exposed, they declare their love to one another. This scene is a masterpiece of dramatic acts. sounds. and words. The male and female characters take turns singing variations of three sets of arias, generating a theatrical dialogue that is musically coherent and dramatically contrasting and developing. The male character makes bold moves: seductively he pushes the zither table to tease her: calling her bluff. he taps it with his fan. To express a love that they cannot tell with simple words. they utter syllables that tell everything without saying anything semantically specific. Catch the very sexy "cui" that the female character utters in the later part of the scene! There is no effective English translation for this word that a sophisticated Chinese woman would utter to romantically rebuke her lover. ALL Men Are Brothers (excerpt) xu Zichang (1578-1623) The second work on tonight's program is "Captured Alive." a scene from All Men are Brothers, a classical and internationally known Chinese novel of heroic men bonding as sworn brothers, fighting the rulers' abuses. while living as bandits. A tragedy-comedy and a moral play, the scene mixes seduction, horror, and moral exhortation in a mesmerizing package of virtuosic singing, speaking, and dancing. The scene begins with Van Poxi coming on stage as a ghost-notice her ghostly steps! A young and deceitful woman, Van is not only the wife of Song Jiang, the main hero of the novel, but also a mistress of Zhang Sanlang, a petty officer and a lothario. As the result of a domestic squabble, she dies from Song Jiang's hands. As a ghost, she yearns for Zhang's love, and thus she emerges from the underworld to get him. That is where the scene begins. Arriving at his house, she knocks at his door. and asks him to let her in. hoping that he would recognize her voice. Notice the calling of his name, Sanlang: as the scene progresses. her calling gets more and more dramatic. As he fails to recognize her voice, the two playa titillating game of guessing, in the process of which he asks many bawdy questions. Eventually he lets her in, and finds her as a ghost. Frightened, he tries to chase her away with a magical charm that he has just learned, generating a very entertaining performance of playful interactions between a living man and his deceased mistress. Finally. as Zhang calms down, and finds the ghostly Van more beautiful than before. he seduces her by confessing how he has cried over her death. Reminiscing about their love affair together, they dance out their feelings for one another. This dance is arguably one of the most entertaining and scary pas de deux in all of Chinese theater! After the dance, Van comforts Zhang by caressing and strangling him at the time. He drops dead and dies with an acrobatic stunt-catch it! As the couple exit to the underworld, they perform another macabre dance: taking charge, she manipulates his movements like a corpse/puppet. In addition to the dances, this scene is noted for its bawdy lyrics and comical dialogues. The eroticism of the lyrics is, however, camouflaged by opaque references to romantic men and women in historical China. This is intellectual eroticism. and it sharply contrasts with the comical, vernacular, and often improvised words that the male character speaks in Suzhou dialect, one that only locals can fully decipher-they are. however. translated for you in this presentation. As a theatrical presentation, '"Captured Alive" makes a double edged statement. It boldly reveals Chinese eroticism and superstition-this is precisely why moralistic Chinese want to ban it. It also poignantly ridicules indulgent men and women-this is why the piece can always survive the censors' cut. Some would even interpret the show as a warning to men: stay clear of bad women-even as ghosts, they will get you! ~umslobby Scan for more kunqu! Visit the UMS Lobby for a video interview with Joseph Lam, director of the Confucius Institute at the University of Michigan. Download a free OR code reader app on your smart phone or tablet, point your camera at the code, and scan to see multimedia content. Palace of EverLasting Youth (excerpt) Hong Sheng (1645-1704) The third and final piece of this evening's program is the "Garden Banquet," a favorite scene from the Palace of Everlasting Youth. a much admired and discussed Chinese drama that fictionalizes the historical romance between Emperor Ming (685-762) of the Tang dynasty and his Imperial Concubine Yang 019-756). Emperor Ming is historically held responsible for allowing a destructive rebellion to unfold and torpedo the empire's fortune, and Imperial Concubine Yang is conventionally, if not misogynously. blamed for monopolizing his attention that indirectly induces his neglect of state affairs. As written by Hong Sheng, a giant among Chinese dramatists, the Palace of Ever/osting Youth is less history but more a romantic play about Chinese culture, politics. duties, desires, and regrets. If the Pa/ace of Ever/osting Youth tells the historical romance in its social and political contexts, it showcases the emperor's love for the concubine before and after her death. As the rebellion advances, Emperor Ming leaves the capital with his transient court. On the road. the army demands that Imperial Concubine Yang be killed as femme fatale; to save his empire. Emperor Ming acquiesced. After her death, he laments day and night, asking if he would be better off by keeping her alive at the expense of his throne. As dramatized by Hong Sheng, the "Garden Banquet" is not a self-contained scene but comprises only the first half of a much longer and dramatic scene. It is followed by shocking news of a military rebellion. and the court's fleeing the capital in haste. Dramatically speaking. the "Garden Banquet" is more lyrical than action-packed-it is the calm before the storm. As performed today. "Garden Banquet" simply portrays an imperial couple enjoying themselves in the garden, cavorting their love and drinking wine. Making such a portrayal theatrically effective can be incredibly challenging. Having been polished by generations of kunqu master performers, the "Garden Banquet" has nevertheless become a kunqu masterpiece. one that master performers use to showcase their performance skills and talents. In the "Garden Banquet; the performer portraying Imperial Concubine Yang has to bring alive on stage one of China's four supreme beauties; she would seductively smile, suggestively gaze. meaningfully point with her flowery fingers, and voluptuously move her torso and limbs. Playing against such a beauty, the performer portraying Emperor Ming has to act imperial and masculine. but also playfully. Cavorting with her. and making her drink more wine than she should. he charms his woman. Whenever kunqu performers bring Emperor Ming and Imperial Concubine Yang alive on stage, they theatrically demonstrate genuine human love in action. It is no accident that kunqu is a masterpiece of humanity. Program notes fyy Professor Joseph Lam, director, Confucius Institute at the University of Michigan. For complete artist biographies, please refer to page 32 in your program book. Mariinsky Orchestra of st. Petersburg Valery Gergiev, music director Denis Matsuev, piano Saturday, October 27. 8 pm Hill Auditorium Suppatoo by Reneiade YenWtft Fund; Pr{>5oMted with suppOft from Catherine S. Arcure Endowment Fund; Media partn&rS WGTE 91.3 FM, WRCJ 90.9 Ftv1, DetroitJ_ish Ntws, and WDET 101.9FM ~ums IE ~IlESE"T Tickets on Sale Now For more information. visIt www.ums.orgorcall 734.764.2538. CaiShaohua Director Performers Shen Fengying, Yu Hulin. Zhou Xuefeng, Shen Guofang, LU Jia, LU Fuhai Musicians Zou Jianliang, Dizi (flute) Zhou Zhihua, Dizi and Xiao (vertical flute) Xin Shilin, Percussion Fu jianping and Yao Shenxing, Erhu Xu Chunxia, Erhu and Zhonghu Artistic Staff Gu Ling, Make-up Artist Bai Lingfang, Costume Designer Saturday Evening, September 29, 2012 at 8:00 Lydia Mendelssohn Theatre · Ann Arbor Fifth Performance of the 134 th Annual Season Photo: SUlhou Kun Opera Theater archives; phot<>l!'apher: unknown. PROGRAM TangXianzu Four Scenes from The Peony Pavilion (Mudanting) Youyuan jlngmeng (Slroltlng In the Garden and the Interrupted Dream) Xunmeng (Pursuing the Dream) INTERMISSION Shihua jlaohua (The Portrait Retrieved and Examined) YOU8OU (Nightly Rendezvous) Tonight's program Is pflr/ormedwlrh one Intermission and has Q duration of approximately 135 mfnurQs. Tonl(!ht's performance Is sponsored by the Confucius Institute at the University of Michigan. Special thanks to Joseph Lam and the U-M Confucius Institute, and Elaine Sims and the U-M Health System Gifts of Art Program for their support of and participatlon In the Suzhou Kun Opera Theater residency. Four Scenes from The Peony PaviLion (Mudanting) Tang Xianzu (1550-1616) Tonight's program presents four seminal scenes from Tang Xianzu's masterpiece. the Peony Pavilfon, which simultaneously tells a love story and launches a philosophical debate of humanity. As told by Tang. who is now often discussed as a Chinese Shakespeare, the Peony Pavilion is a complex drama of 55 scenes. telling how Bridal Tu, the daughter of an elite family, finds meanings of life through love, death. and resurrection. A gist of the drama runs as follows. One day, Bridal Tu ventures into the family garden. finds flowers blossoming among crumbled walls and dried up wells; there and then, she realizes how a life without love is meaningless. Emotionally exhausted. she takes a nap in the garden. and dreams a rendezvous with her future beloved, only to wake up with an insatiable yearning for him. In the following day. she comes back to the garden. trying to find her dream lover again. She goes back to her boudoir disappointed. Soon, she falls love-sick and dies. To preserve herself for her lover. she makes a portrait of herself before her untimely death. and has it hidden by a giant rock in the garden after her funeral. Meeting her judge in the underworld, however. she begs and gets another chance to live again. She is to be resurrected by her destined husband. Master Liu. a talented young scholar. Searching for love and career. he comes to the Bridal Tu's town and finds her portrait in the garden she left behind. Gazing at the painting, he finds Bridal Tu's beauty irresistible; thus, he worships her painted presence, and begs her to come alive. She does. and they begin to cavort with one another. Having his love for her, dead or alive, assured, she reveals her identity to him. and asks him to resurrect her. With the help of a Daoist nun, he opens up her grave, finds her in perfectly human form. and wakes her from her death. They begin to live as husband and wife. Living in the human world. nevertheless, they have to secure their conjugal bliss by having his career as a scholar official launched. Thus she sends him to the capital to take the national examinations. the gateway for male careers in imperial China. He passes the examinations as a top candidate. Before he can take the good news to Bridal Tu. however. he has to convince her stubborn father. a powerful court official whom he finds in the capital, that he is not an evil grave digger, and that she has actually resurrected. Only with the emperor's intervention, the father is persuaded. And the drama concludes with a grand and happy finale. The four scenes featured in tonight's program represent major dramatic turns in the drama. The first scene is entitled "Strolling in the Garden and the Interrupted Dream." It shows Bridal Du and her maid strolling in the garden and her meeting with her destined husband in a romantic dream. This scene is arguably the most frequently performed scene in contemporary kunqu. Its main aria, the "Black Silk Gown." is one of the most discussed and performed compositions among all kunqu arias. The second scene is entitled "Pursuing the Dream; which tells how Bridal Tu returns to the garden and attempts to meet her destined husband again. She cannot. and thus she falls love sick and dies disappointed. This scene is a favorite among kunqu masters performing as the young female role. It affords them opportunities to sing and act at their greatest capabilities, expressing female desire and demeanor that Bridal Du personifies, and Chinese audiences idealize and want to envision for themselves. The third scene is entitled 'The Portrait Retrieved and Examined." It tells how Master Liu finds Bridal Du's portrait, tries to figure out who she is, and concludes that she is an angel from heaven, who has nevertheless become the object of his desire. Through acting, singing. and chanting by himself-for almost 30 minutes. the performer acting in this scene would dramatically project a young and talented man falling in love with a woman whom he has yet to meet in person. As such, the scene is a theatrical testimonial to not only the performer's skills and talents but also the ways traditional Chinese imagine how an educated and romantic scholar-official would feel and act. The fourth scene is entitled "Nightly Rendezvous." which is love-making symbolically staged. Hearing Master Liu's genuine call for her, Bridal Du comes out to meet him in his studio. Surprised to seean unknown beauty coming to his room uninvited. he asks who she is; she says she is the beauty on the painting whom he begs to appear. He then asks why she comes. and she tells him that she wants to spend the night with him. This scene is both musically and visually expressive and emotional. Listen to the melodic twists and turns the performers sing. and watch out for their caressing one another with their long and flowing sleeves (shuixiu). Program note fyy Professor joseph Lam, director, Confucius Institute at the University of Michigan. For an introduction to kunqu, please refer to page 25 in your program book. ARTISTS R. CAl SHAOHUA is Director of the Suzhou Kun Opera Theater. An energetic and forward-looking artistic administrator, he has guided. since 2002, the troupe M to gain international fame and artistic successes. With collaborative projects and strategic use of artistic and human resources. he has developed not only the troupe's effective preservation of kunqu as a cultural heritage of China. but also its innovative and well-received productions of grand operas. which include: The Peony Pavilion the Young Lovers' Edition (2004): The Palace of Eternal Youth (2004): the jade Hairpin (2010): and Lanke Mountain (2008). MS. SHEN FENGYING is an internationally renowned kunqu performer of the young and unmarried female role, a specialty that she learned from Ms. Zhang jiqing. Ms. Hua Wenyi, Ms. Wang Fang. and other distinguished masters. Noted for her onstage beauty and exquisite acting. Ms. Shen has won many awards and honors, which include: Top 10 Best Young Kunqu Performers Award (2007): the Plum Flower Award. the highest Chinese award for operatic performers (2007); and national designation as a Class One Performing Artist. She plays leading roles in several canonic kunqu operas, such as the Peony Pavilion: the Young Lovers' Edition; the jade Hairpin, and the Romance of the West Chamber. Ms. Shen performs internationally. In 2007, she performed kunqu in Tokyo for Prime Minister Wenjiabao's state visit to japan; in the same year, she performed in Paris at the UNESCO Festival of Masterpieces of Oral and Intangible Cultural Heritage of Humanity. YU jlULlN is an internationally renowned kunqu performer of the young male role, a specialty that he learned from Wang Shiyu, Vue Meiti, Shi Shaomei, and other distinguished masters. Noted for his stage persona as a handsome, talented, and erudite scholar. Mr. Yu has won several major awards, which include: Top 10 Best Young Kunqu Performers Award (2007), the Plum Flower Award, the highest Chinese award for operatic Chinese performers (2007); and national designation as a Class One Performing Artist. Mr. Yu plays leading roles in several canonic kunqu operas, such as The Peony Pavilion: the Young Lovers' Edition. the jade Hairpin, and the Romance of the West Chamber. Mr. Yu performs internationally. In 2007. he performed kunqu in Tokyo for Prime Minister Wen jiabao's state visit to japan; in the same year, he performed in Paris at the UNESCO Festival of Masterpieces of Oral and Intangible Cultural Heritage of Humanity. In 2008. he performed in Tokyo in a Chinese-japanese version of the Peony Pavilion. ZHOU XUEFENG is an acclaimed kunqu performer of the young male role. He studied kunqu with Cai Zhengren, Wang Shiyu, and Vue Meiti and other distinguished masters. To advance his artistry. Mr. Zhou became, in 2003. a formal disciple of Cai Zhengren. and since then, has continuously received personalized coaching from the senior master kunqu. Mr. Zhou has won a number of awards. which include: Top 10 Best Young Kunqu Performers Award (2007); and the Red Plum Golden Award (2009). Mr. Zhou plays leading roles in a number of kunqu plays. which include the Palace of Eternal Youth and the Lioness Roar (Shihou ji). MS. SHEN GUOFANG specializes in the teenage female role, and her vivid portrayal of charming and innocent maids. such as Chunxiang in the Peony PavWon the Young Lovers' Edition and Yunxian in The Hairpin and the Bracelet, has been popularly received. Recognized as a National Class Two Performer. Ms. Shen has won a number of national awards. which include Outstanding Young Kunqu Performers Award (2007), the Silver Prize of First Kunqu Festival (2000), and New Performers of Suzhou Award (2007). LO jlA specializes in the teenage female and martial female roles. Her teachers include Zhao Guozhen. Wu Meiyu, Liang Guyin, and other famous kunqu masters. Recognized as a National Class Two Performer. and noted for her performance of many operatic characters, LO has vividly performed Hongniang in the Romance of the West Chamber. Van Xijiao in the Water Margin (Shuihu ji), and other beloved female characters. LO has won a number of national awards, which include silver prizes in the third and fourth Red Plum Competition of Operatic Performances in Jiangsu Province (2007 and 2009). LO FUHAI specializes in the clown and fu (supporting male) roles. A designated National Class One Performer. and a recognized artistic successor of Wang Chuansong, a legendary performer of the clown role. LO performs clownish characters with perfect timing and witty humor. His famous roles include Zhang Sanlang of the Water Margin and Lou the Mouse of the Fifteen Strings of Cash. LO's many awards include: Outstanding Performance Award at the First Kun Opera Festival (2000) and Distinguished Performer Award at the Second Kun Opera Festival (2003). ZOU JlANLlANG is the vice president of Suzhou Kun Opera Theater and a National Class One dizi (flute) performer. After childhood lessons with his father, Zou learned dizi playing from several renowned teachers. In 1977. he enrolled in the jiangsu Province Kunqu academy and there he learned from Gu Zhaoqi and other distinguished kunqu dizi artists. Zou is the principle dizi player for several major productions of the Suzhou Kun Opera Theater, which include the Peony PavWon: the Young Lovers' Edition, the Palace of Eternal Youth, and the Jade Hairpin. Zhou performs extensively in Asia, Europe, and the US. ZHOU ZHIHUA is a young and promising player of dizi and xiao (vertical flute). A graduate of the jiangsu Province Opera Academy, Zhou joined the Suzhou Kun Opera Theater in 2004 asa wind instrument performer, and received further coaching from Zou jianliang, the troupe·s principle dizi player. Zhou plays for many traditional productions of kunqu shows. and has performed many times in Hong Kong and across Asia. XIN SHILlN is the principle percussionist of Suzhou Kun Opera Theater. A graduate of the Shandong Province Opera Academy. he plays both traditional and contemporary repertories of kunqu. In 2006, he was named one of Ten Outstanding Young Persons in Suzhou. Traveling with the troupe. Xin has performed in many Western. Asian. and Chinese cities. FU jlANPING is a National Class Two Performer and a principle erhu player for the Suzhou Kun Opera Theater. who also plays a number of other string, wind, and percussion instruments. Fu also composes/arranges kunqu instrumental music; his works include instrumental compositions for The Palace of Eternal Youth and The Lanke Mountain. Traveling with the troupe. Fu has performed in different countries and places including Italy. Austria, Belgium, and Singapore. XU CHUNXIA is a young and promising performer of the ertJU and zhonghu fiddles. She joined the Suzhou Kun Opera Theater in 2001, and since then toured with the troupe, performing kunqu instrumental music in Asian and European venues. WANG YINGYING is a National Class Two Performer who plays a number of Chinese string and/or plucked instruments, which include the pipa, the kunqu lute (quxian). the zhong ruan (lute), and guqin (seven-string zither), In addition to her performances with the troupe's international tours, Wang also performs as a soloist, and has earned critical acclaims for her performances, YAO SHENXING has played erhu since the age of 12, She joined the Suzhou Kun Opera Theater in 2003, and since then, performs internationally as both a member of the troupe's orchestra and as a soloist, Noted for her solo playing, she has performed in many cultural and official functions in Suzhou, As a performer who joined the Suzhou Kun Opera Theater in 1977, GU LING (Make-up Artist) specialized in the roles of young and unmarried woman and military female, In 2000, she changed her career to become a make-up stylist, Since 2004, she has produced critically acclaimed make-up designs for leading characters in a number of major productions, which include the popular Peony Pavilion: the Young Lovers' Edition and the Jade Hairpin, Gu tours internationally with the troupe, Upon graduation, in 2003, from the Suzhou University specializing in cloth designs, BAI L1NGFANG (Costume Designer) joined the Suzhou Kun Opera Theater as a costume designer. She has created costumes for the troupe's Chinese and Japanese joint productions of the Peony Pavilion and the Romance of the West Chamber, and supervised the making of costumes for new productions of the Peony Pavilion, the Jade Hairpin, and the Palace of Eternal Youth, Bai tours internationally with the troupe, This weekend's performances mark Suzhou Kun Opera Theaterof Jkmgsu Province's VMS debut lonesco's Rhinoceros Theatre de la Ville Emmanuel Demarcy-Mota, director Thursday, October 11, 7:30 pm Friday, October 12,8 pm Saturday, October 13, 8 pm Power Center Supported by Rene&:ade Ventures Fund; Funded in part by Wallace Endowment Fund; Media partners Between the Lines, Michi&:an Radio 91.7 FM, WDET 101.9 FM, and Ann Arbor's107one (;'::ums BE PRESENT Tickets on Sale Now For more information, visit www,ums,orgorcall 734,764,2538, UMS EDUCATIONAL & COMMUNITY ENGAGEMENT EVENTS Through Monday, October I. 2012 The below UMS activities are FREE, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org. The post-performance party never ends at www.umsLobby.org. Check it out and let us know what you think! UMS on Film: /consAmong Us Wednesday, September 19, 6:00 pm U-M Museum of Art, Stern Auditorium, 525 S. State Street Jazz is undergoing changes of monumental magnitude and importance. Icons Among Us (2009,93 min.) examines the jazz music scene today by focusing the spotlight on many current jazz icons, including Terence Blanchard, Ravi Coltrane, Robert Glasper, Donald Harrison, Jr., Anat Cohen, and Esperanza Spalding, among others. The film also features the legendary prede<:essors and influences of today's contemporary jazz stars, including Herbie Hancock and Wynton Marsalis, The film is followed at 8 pm by the UMMA Jazz Series: Pete Siers Organ Trio in the Forum, In collaboration with the U-M Museum of Art The UMS on Film series is designed to expand understanding of the artists and cultures represented on the UMS season and reveal some of the emotions and ideas behind the creative process, Kidd Pivot Opening Night Q&A Friday, September 21, Post-performance Power Center, 121 Fletcher Street Where does inspiration come from? What makes an artist tick? After all opening-night dance performances and most opening-night theater performances, join us for a post performance Q&A and get a glimpse into the lives and minds of the artists that bring creativity to the stage, Must have a ticket to that evening's performance to attend, People Are Talking Live Saturday, September 22, Post-performance SOIIa's Restaurant, 216 S, State Street What did you think? After certain Saturday-night dance and theater performances, you're invited to an informal audience discussion at Sava's on State Street Talk with other audience members in a social setting and share your interpretations, questions, and responses, Events are hosted by Clare Croft (faculty member from the U-M Department of Dance) and Jim Leija (UMS Director of Education & Community Engagement), Grab a drink, pull up a chair, and keep the conversation going, We'll post signs at Sava's so you know where the group is gathering, No registration (or expertise!) necessary, Hill 100 Trivia Night Monday, September 24, 7:00 pm Arbor BreINing Comparry, 114 E. Washington Street Throughout the current season, UMS celebrates our centenary season in Hill Auditorium. a building incredible not only due to its rich history and acoustics, but also due to its function as a linchpin venue and cultural incubator for the arts community in southeastern Michigan. Join us for an evening of Hill Auditorium trivia and music! Teams should have four members. and we'll have plenty of goodies to give away as prizes throughout the night. To sign up. please email [email protected]. Suzhou Kun Opera Theater of Jiangsu Province Gifts of Art: Suzhou Kun Opera Demonstration Thursday, September 27, 12:10 pm University Hospital Main Lobfyy, Floor I, 1S00 E. Medical Center Drive Gifts of Art presents a demonstration and performance in partnership with UMS and the U-M Confucius Institute. Directed by Cai Shaohua, the Suzhou Kun Opera Theater of Jiangsu Province will conduct an artistic demonstration and plain-clothes performance of kunqu-classical Chinese opera-at the U-M Health System. offering a rare glimpse into the inner workings of this 600-year-old art form. Kunqu is known for its blending of dramatic literature, soulful singing. and elegant dancing. The genre is now enjoying a revival. blending classical stories and performance practices with contemporary staging interpretations and technologies. An exhibit of photographs of kunqu by Xu. Zengquan are on exhibit in the Gifts of Art Gallery. University Hospital Main Lobby, Floor I, from August 20-0ctober 8, 2012. Presented by Gifts of Art in collaboration with UMS and the U-M Confucius Institute. UMS Night School: 100 Years of UMS at Hill Auditorium Opening Session Monday, October I, 7:00 pm Ann Arbor District Librctty, Multipurpose Room, 343 S. Fifth Avenue What can we learn from the performing arts and from each other? What was it like to be in Hill Auditorium in 19B? How have the performing arts evolved and changed over the past 100 years? How has Hill Auditorium impacted our community? After last season's successful launch of UMS Night School, we're delighted to expand this program. This season. Night School will focus on 100 years of UMS at Hill Auditorium and illuminate the unique history behind the great performers and performances that have shaped our community. These gO-minute "classes" combine conversation. interactive exercises, and "lectures" with genre experts to draw you into the themes behind each performance. Sessions are designed to both deepen your knowledge of the performing arts and connect you with other audience members. Professor Mark Clague joins us again as host and resident scholar. In collaboration with the Ann Arbor District Library and the U-M School of Music, Theatre & Dance. Funded in part by Michigan Humanities Council, an af/iliate of the National Endowment for the Humanities. GENEROUS UMS DONORS. UMS SUPPORT JULY 1, 20ll-JUNE 30, 2012 The cost of presenting world-class performances and educational programs greatly exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, foundations, and government agencies. The following list includes donors who made gifts to UMS between July 1, 2011, and June 30, 2012. Due to space constraints, we can only list those who donated $250 or more in the program book. Please call 734.647.1175 with any errors or omissions. indicates the donor made a contribution to a UMS Endowment Fund indicates the donor made a mUlti- year commitment to UMS P!-.oto l¥ Mark Gjuk:ch Photography Tom Thompson/FIowers 665-4222 PROOI :ER c.1_ I5aI»Ie Brliuef F....-.:I "'-..:I En1Iy Grant RImIIy o MIlRE ~- -..,"....., Perny and I(m AKI>tr !.W1In and ~ HiIIlt'Iree< Nne and P.... Glendon o..t>bIiI-- and NOrmln Herbert OIREt:TOR Katl>t and Tom Goid:>erl c.1 and CI\aJ1ene Her!iteln ($100.000- S499. 9;9) Rkl'lard and LhdiI Greene I-IonIIIman MIle< Schwartz and CoM CIa\Od _ Salt)' Kernedy A.ooI'l>jmous Food 01 1M Corrvrulny SUsan and Rk"-d Gutow' FoundatIcn fa" ~ Coul"lty D.1YId and F'hyIIs I-ierzI8 Marl! and JanICe ~ ASIOOMIon 01 ~ Arts """,,,,,MId)ua\t1SlOd< Tom and ConnIe KInnNf RanI_Mld~1t.I waIy" and RoOeft KleIn DorIs CUoe ~ Fculditlon RabertMld PNt$on Macet Dr. and Mrs.)afy_ Fo«I_~FIrd_ ~ L.eeIdCI and AIda Tares -- Tom McMuten '"""'""" _ft ~--_1let:bV Lao..:l KWoy Lee_t MaxIne and stuart F...... McMullen Prcpe"tIes _d and ~ I.Irol't>ad< MI5. Rebert E. MetedtM Molnll,eet VenlU"es Rlcl\attl""~ and UIIIan I\Oe5 Trusl MId1Iean Councillor .... ts and 5tfopI\e<11nd Barl:lara MunI< TIle.....-.:nw W. Mellon Foundaotlon CUltural All"," M. I-QsketI and Jan Barney Newman Mkr.l8l1n EooncrrOc: ~I Michigan CrttIcioI CII. Consultants, CIa\Od N. PIf"SII\An ",-- oc ....., """'" IJnIwnIIyd MIct"oI9ln HNlh System CorIos and Dr.1. e. ~ _. ~ I>;ldcIodc & SIDne, I'rlM MId ...... Rosenthal' P.Le. IlcioJR and SI\iron __ --""'"~,- Herbert and ~ IU>en ...... />lEA jazz MaUnlMe _,FumSlcil Cornrru1Ity Foundaotlon IQr GII>efI Omern MId MirtMa ~ ]oc:m w. and ~ ~ stout ~.tMlchlllan /1m and Palrlc:lo. ReKI DTE EnfI'iY Foundation Retlremenllna;ome SolutIons Kar""-""~ Ind D.1YId SllJIz )oIln S. and)arne< L Kril/hl I.Inda ~ and)oel HOwell Robe PRO PI.L bobo: a INfIoM bV S- KIrt ~ KM!n GottIrc ~_ MiIrIII ••. 04~ On.)o/YI_ L.-.. BKII GolasefI gemardand~Arr __ Dr. !Wen Banteland Dr. Steott! C_Gl_ M1cNoel.nd swan AieDndet ElIzmelh N. GrM'lam (ar0lAm5t.. John"""'" and Gin"llWeham en p~ and Stephen Green Robert and Wanda. Sartlett 0'. ~ A. Green NOmlan E. Barnett Ilfadfon::I and l.lJ'dLio Bates RobI! photographer and proud supporter of UMS. Specialimg in many styles, indJdir.g: Event Fami~ Wedding Ifrom the center of the storm to the center of you i Engagement From full body massages to skin Portraiture core trllO,"",nts to WQ>dng and noll services, the Beilonina d Gift cords avolloble onytlme ot _w.BellonlnoDoySpo.com PATRON )NTINUED), Usa A. Payne Rlchardand MonilAIonzo Eva and 'M>It DuYI>moy lad< and Jean Pt>4o"re AmerIc.an lltle Company ot ~Gos"'tt PIlle< Foundation Wa,h""""" KIm and Darlene Eaete Wlmitred P. Ple«:e Nell P. Ander.ion Fund 01 the Ann Bart>.Ya Ekt1mun..r )ute!: S. PIeIson Arbor Area Cornn>.JnIIy FoI..ndatIon ~ene Fast Eialneand BertJamPm Ann Arbor FIre station # 1 Mar~aret and)otln F_...... stephen and BettIna Pollock carolFl"""""" Rl University of Michigan Credit Union (UMCU) is proud to sponsor this season's performances! We hope you enjoy the show! u s,","': umcreditunion Federally Insured by NCUA CKmlT .-- UMLIr-..:[( )t", UMCUORG looking for the right office space in Ann Arbor? Call McMullen. POUR GENEllATI0N5 IN ANN AIUIOR IU!AL I!STATII www.annarborrotary.org www.McMullenProperties.com I 734.769.1800 BENEFACTOR 'NTINUED) Franc", l.ymiln joel Bft¥TWO and Elaine Pon'"ol'ranz Pam MacKIntosh ,--.. CMslIe Blown and)elfy DarI. MartIn and )ane MaeI1< -_Gary and DIane stahle Morton B. and Raya Blown Nancy and PhIlip Mai'1lOII' WlIIam). and Roberta G. Stapleton Of. Pamela Blown Bel»' Yvonne Marl< TNdy and)<>nathan Buidey W.1-IaIfy Marsden ""~- )uct; and Toby Burt H.LMason Brad and Kar"" Thompson Anthony and)ane Buton )udyIhe and RD\l'" M_h Nillel~"- and)ilne Thompson Mar~arel W. Carroll and Dennis B. -.~ Pel.... came and Errvna Throm ,~~ Lau:\e McC ....1ey and ""'" Grtzzle Fr. LewIs W. Towle< Denni.). carte< W.)oseph McCune and~ Clillre and)err)' nxmtle SUsan loot carter MariaMll TlmoIhy and Robin Dam!i(troder Nactot, Rou:nel, Salvatore. Blanchard )ilrT1es and Gall ~ Soxol and Mellal Da, &W_.P.C. Mary jean and)ohn YabIonI For Being an Instrumental Part 01 Our Community • Congratulations to our colleague, Stephen G. Palms, Vice Chair, UMS Board 01 Directors JOSEPH M. FAZIO [email protected] I 734.668.7633 ~~ H ~ "oH ' "' , I I ' P ~ 'W ' I IUS ' ~ ~ L ~ ~ ~ UJ • L ~ ~5 1 ~" ' S ~ HAW ' HeY ------Mn.LER CANFIElJ) ml l e GREAT PERFORMANCES ABOUND! WKAR-TV Music. dance and drama programming WKARRadio 24-hourclassical music and news from NPR WKAR.org Jazz. folk, classical and news radio streams !11~[~~li!~~~~~ififi~fIiliI~iIrfi~~il!ili~j!Iii'~~i(~1lifiJ~i!~fI~ ~ [~ Iii tllllllllllll~lllllfll III ['I Ii 1IIIIjllilfi 11~ltlllll[ ~ ~ .~~ I I! i ~ ~f.~ '. i i ~ ~ ~ • f ~ ~ i I~q'~ f i 1 l i .. ~f ~ i ~ t i ~ ~ ~ ~ ~ '" II: - ~ =~ .~ "~ ~ ~~li{Iil~I[~fI!lltli~ii!~!iii~!ffi~[j~il~~!i![!I![fl~1f~iII~!I[~!f ii - !if~~!ili'[i~ I !i~![ i lil~liii'~~i!il'i iil~Ji~i~~1 jl~i~itJI , ~ i~~~ ~ ,. • ~ ~ l ~ f~' -~!~ [ "~. g It~~!~ ~~, ~ .'h H ~ ~,H • ~ c "~ ~! Iii ,~ 1 il ~ ~~ " ~ ~ i ~'[~I!ii~[[~~~ii~~~~~~~i!{~~fl~!~!!(~~~!~i~~~~~I!i~iJ~I~i[~[~[[!il~ 1fi~i~l~i~~~tjiit~~i!jiij~~J[~f~!t!il'~t~illffl;Jii~ifi-~'[il~i~~~ ~ i i ii- 5wi IJ' ~'f i~ ~ifi~! i !i~ !{ ii ~ j~11 i! f • ~i~ i ~. ! i i HIii "~ - ~. !~ , PROUDLY SUPPORTS TIlB UNIVERSITY MU S ICAL SOCIETY 610 HILTON BLVD. I .... NN .... RHO ... MI ~"08 (n.) 761_7&00 I WWW.KCOURTAt..COM ASSOC IATE NTINUED) Malt and Patrkia T""leI Rebeoca Van DyI IV<> &"PI LIFETIME GIVING The donors listed below have provided significant support to UMS over a number of years. We recognize those whose cumulative giving to UMS totals $500,000 or more. National Endowment lor the Art, Linda and Mau'ke Blnl::ow Pi'll..... Inc. Commu:'llty Foundation tor Southeast Mlc:tM~an Randall and Mary Pittman DorIs DuIre Charitable F<>U:'>CIatlon Phil and Kathy Pow« Ford Motor Company Fund and Community Serv\c", The Pow« Foundallon F"""t Health SeMe", Estate at Mary Roml~-deYoun~ Rkt\a,d and Lllian Iv", Trust l-lerbert E. Sloan. Jr. M.D. The ArOfffl W. Metlon F<>U:'>CIatlon The Wallace Foundallon Mkt1l~ Coo..ndl tor Art, and Cullu'al Allal,,; ENOOWE NOS The future success of UMS is secured in part by income from UMS's endowment funds. We extend our deepest appreciation to the many donors who have established and/or contributed to the following funds: H. Gardner and Bonnie Ackley Endowment Fund Natalie Matovlnor.>it Endowment Fund Hert>ert S. and Carol Amster Endowment Fund Medeal Commu:'llty Endowment Fund catherine S. Ar«"e Endowment Fund NEA Mat{t1I~ Fund (a(1 and lsabetle Brauer Endowment Fund ottmar Eberbac:t1 Funds Hal and Ann Davis Endowment Fund Palme< Endowment Fund DorIs DuIre Charitable F<>U:'>CIatlon Endowment Fund Mary R Romit-deYOU'l~ Mu,k Apprec:lallon Fund Epstein Endowment Fund Prudenc:e and Armon Rosenthal K-12 Edu<:atlon Ilene H. Foro;yth Endowment Fund Endowment Fund SUs.1n and Rkhard Gutow R"""1lade Venlu'es Charles A. Sink Endowment Fund Endowment Fund Herbert E. and DorIs Sloan Endowment Fund Norman and DebbIe Herb«t Endowment Fund james and Nancy Stanley Endowment Fund DavId and PhyI"' ~ Endowment Fund SUsan B. UIlrlc:i'I Endowment Fund )anNet Endowment Fund UMS Endowment Fund WlWam R Kinney Endowment Fund The Wallac:e Endowment Fund Franc", Mauney LoIv Choral Union Endowment Fund The arts unite us all. The power of the arts is to unite commlllrlies. givirP;J usa rush of emotion we want to share wrth others. At lklrted Bar;; &Trust. we're unrted in oor mission to acti'A'lyshow oor support for the arts. and for the manyvibranl communities we seM'.l.efscomJKIsesollllions together. UNITED n BANK &.. TRUST Solutions Together ubat.com MEMBER FDIC ALWAYS SESI MOTORS 3990 JACKSON ROAD , ANN ARBOR, MI 48103 (73 4 I 668-6100 PLANNED GIFTS/BEQUESTS We are grateful to the following donors for including UMS in their estate pians. These gifts will provide financial support to UMS for generations to come. Be TRIBUTE GIFTS Contributions have been made in memory of the following people: Bonnie Artley SIdney A,..., Gall W. Redo< Helbert Arnsl ... James Garava~lla Stem ReI" )Im and Jenny Ga,dlner Mar~a,el E. Roth,\eln --~Nancy L A§(lone VIr~nIa Crandall Hills lOr!< H. Roth:§teln Dr. Mel Barclay ),-"Hne 0(""" Kulka Prot. Kenneth Row§ )olin S. Dobson St..ley V... ,ell Barbara F... ~ ~--Mar~a,el Meyer; Mar~a,el HoweU Wekt1 )on T. F... rIef )amesPallrld~ ,-~ Dr. James F. Al~as Pete< Pollad< BarbaraWyk... Contributions have been made in honor of the following people: Mkt\aet Alleman~ Ian KrIe~ Clayton and Ann Wlltille Jean W. campbell Sha,on Anne M GIFTS-IN-KIND The following people and organizations have generously provided in-kind donations and support: Ab I II Grear rhings ~~Jhs are happening ~ Cleaners in our schools. See, touch and smell the All tlw II lis Green Earth difference. toyou. Non-toxic An environmentally friendly new way of dry cleaning. !. L KEEt> E.\RTI i" 2268 S. Main St. Localed by Busch·s (In the oomer (If S. Main St. and Ann Arbor-Saline Rd. WWW.SUPPORTANNARBORSCHOOLS.ORG 734-998-1245 734-994-1969 www.irisdrycleaners.oo m Carol Austad, MD Carol Barbour, PhD Ronald Benson, MD Meryl Berlin, PhD Peter Bios. Jr.. MD Linda BrakeL MD Robert Cohen. PhD Susan Cutler, PhD Joshua Ehrlich, PhD Lena Ehrlich, PsyO Harvey Falit, MO Richard Hertel, PhD Erika Homann, PhD Bernadette Kovach, PhD Alan Krohn, PhD Howard Lerner, PhD Barry Miller, MO Giovanni Minonne, PhD Julie NageL PhD Jean-Paul Pegeron,MD Dwarakanath Rao, MD Ivan Sherick. PhD Merton Shill, PhD Michael Shulman. PhD Michael Singer, PhD Jonathan Sugar, MO Marie Thompson, MD Dushya ntTrived!. MD Jeffrey Urist, PhD Ga il va n La ngen. PhD MargaretWalsh. PhD Elisabeth Weins1llln. M) Mark Ziegler, PhD HOW DO I BUY TICKETS? ONLINE BY PHONE www.um s.org 734.764.2538 (Outside the 734 area code, IN PERSON call toll-free 800.221.1229) UMS Ticket Office BY MAIL Michigan League 911 North University Avenue UMS TIcket Office Mon-Fri: 9am-Spm Burton Memorial Tower Sat: 10am-lpm 881 North University Avenue Ann Arbor, MI 48109-1011 Venue ticket offices open 90 minutes before each performance for in-person sales only. TICKET DONATIONS/ UNUSED TICKETS If you are unable to use your tickets, please return them to us on or before the performance date (accepted until the published performance time). A receipt will be issued by mail for tax purposes. Please consult your tax advisor. Ticket returns count towards UMS giving levels. ACCESSIBILITY All UMS venues are accessible for persons with disabilities. For information on access at specific UMS venues, call the Ticket Office at 734.764.2538. Ushers are available for assistance. LISTENING SYSTEMS For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance. For events with high sound volume, ask your usher for complimentary earplugs. LOST AND FOUND For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, Rackham Auditorium, or Arthur Miller Theatre, please call University Productions at 734.763.5213. For the Michigan Theater, call 734.668.8397. For St. Francis of Assisi Catholic Church, ca1l734.821.2111. REFRESHMENTS Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium, and in the Michigan Theater. Refreshments are not allowed in seating areas. If you want to make parks greener, improve neighborhoods, even support the arts, the Community Foundation for Southeast Michigan can help. And keep your donation giving for generations to come. Scan the QR Code Visit CFSEM.org or call1-888-WE-ENDOW to find out more. for more information on how we can help. PARKING We know that parking in downtown Ann Arbor can be difficult and can sometimes take longer than expected. Please allow plenty of time to park. Parking is available in the Church Street, Maynard Street, Thayer Street, Fletcher Street, and Liberty Square structures for a minimal fee. UMS donors at the Patron level and above ($1,000) receive 10 complimentary parking passes for use at the Thayer or Fletcher Street structures in Ann Arbor. Valet parking is available for all Hill Auditorium performances on the Choral Union Series for a fee ($20 per car). Cars may be dropped off in front of Hill Auditorium beginning one hour prior to the performance. UMS donors at the Virtuoso level ($10.000 annually) and above are invited to use the valet parking service at no charge. FOR UP-TO-DATE PARKING INFORMATION, PLEASE VISIT WWW.UMS.ORG/PARKING. POLICIES. SMOKE - FREE UNIVERSITY As of July 1, 2011, the smoking of tobacco is not permitted on the grounds of the University of Michigan, including the exteriors of U-M theaters and concert halls. Smoking is allowed on sidewalks adjacent to public roads. TICKET EXCHANGES Subscribers may exchange tickets free of charge up until48 hours prior to the performance. Non-subscribers may exchange tickets for a $6 per ticket exchange fee up until 48 hours prior to the performance. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may send your torn tickets to us by mail, fax a photocopy of them to 734.647.1171, or email a scanned copy to [email protected]. Lost or misplaced tickets cannot be exchanged. We will accept ticket exchanges within 48 hours of the performance for a $10 per ticket exchange fee (applies to both subscribers and single ticket buyers). Tickets must be exchanged at least one hour before the published performance time. Tickets received less than one hour before the performance will be returned as a donation. CHI LORE N / FAM IllES Children of all ages are welcome to attend UMS Family Performances. Children under the age of three will not be admitted to regular. full-length UMS performances. All children must be able to sit quietly in their own seats throughout the performance. Children unable to do so, along with the adult accompanying them. may be asked by an usher to leave the auditorium. UMS has posted age recommendations for most performances at www.ums.org. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket regardless of age. Discover AmI Arbor's .... 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C 20t21'.e)C For more detailed information on how to get involved with UMS, please visit www.ums.org/voiunteer. STUDENT WORK- STUDY/INTERNSHIP PROGRAM Internships with UMS provide valuable experiences in all areas of arts management, including performing arts production, education, administration, ticket sales, programming. development, and marketing. For more information about available positions and how to apply, please visit www.ums.org/jobs. UMS STUDENT COMMITTEE The UMS Student Committee is an official U-M student organization dedicated to keeping the campus community connected to the performing arts. For more information on how to join, please email [email protected]. USHERING Usher orientation sessions are held twice annually for new and returning ushers. You must attend an orientation to be eligible for ushering. Information about upcoming sessions is available at www.ums.or8lushersassessionsarescheduled. For more information, contact Kate Gorman at 734.615.9398 or [email protected]. UMS CHORAL UNION Open to singers of all ages, the 170-voice UMS Choral Union performs choral music of every genre in presentations throughout the region. Participation in the UMS Choral Union is open to all by audition. Auditions are held in the spring and the fall of each year. To learn more, please contact Kathy Operhall at [email protected] or 734.763.8997. UMS ADVISORY COMMITTEE If you are passionate about arts advocacy. are looking for ways to spend time volunteering, and have a desire to connect with our organization on a deeper level the UMS Advisory Committee may be a great match for you. To learn more, please contact Cindy Straub at [email protected]. UMS ADVERTISING 54 Academy of Early Music 4 Honigman Miller 38 Rotary Club of Ann Arbor 42 Alumni Association of the Schwartz and Cohn. 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